At a glittering party in 18th-century Paris, the poet Andréa Chenier delivers an impassioned denunciation of Louis XVI. Five years later, the Revolution has given way to the Terror, transforming the power balance between Chénier, his beloved Maddalena, and Gérard, the man who could destroy him...

Giordano’s passionate tragedy stars tenor Piotr Beczała as the virtuous poet who falls victim to the intrigue and violence of the French Revolution. Following their celebrated recent partnership in Giordano’s Fedora in the 2022–23 Live in HD season, Beczała reunites with soprano Sonya Yoncheva as Chénier’s aristocratic lover, Maddalena di Coigny, with baritone Igor Golovatenko as Carlo Gérard, the agent of the Reign of Terror who seals their fates.

Andrea Chenier is a poet during the French Revolution. He and Maddalena are in love. Gerard, former servant in Maddalena's house, denounces them to the Tribunal, but recants it too late. The lovers go to the guillotine together.

Live from ROH 1985. Giordano's Andrea Chenier is one of the greatest of verismo operas, full of heart-stopping big tunes and powerful emotional situations. If it is not as well-known as it should be, it is because in summary it sounds a little too like Puccini's Tosca: there is a tussle between political opponents over a woman, an attempt to save a condemned man, a tenor aria about writing poetry on the eve of execution. The difference is that Gerard (Giorgio Zancanaro) is not a villain like Scarpia, he is an idealist whom the French Revolution has betrayed as much as it has his rival the poet Chenier (Placido Domingo). His temptation to abuse his power to seduce the virtuous Maddalena (Anna Tomowa-Sintow) is a momentary one, though its consequences are terrible. There is a streak of post-Wagnerian decadence in much of this--Maddalena is at least as much in love with death as she is with Chenier, and the final love duet has a deeply sinister aspect. -- From Amazon.co.uk

The revolutionary tribunal has sentenced Andrea Chénier to death and no one can avert his fate. Shortly before his execution, Chénier is visited by his lover Maddalena, who has decided to die at the poet's side. “Our death is the triumph of love”, the lovers promise each other in their last words. The French Revolution, which was initially demanded by the people, turns out to be a machine of terror after 1789: spies of the regime pursue the citizens, show trials serve as a deterrent and the guillotine ensures that the sentences are carried out. Although the wanted Chénier could flee Paris, he decides against it. He wants to know who is behind the letters that are secretly delivered to him. Here, in the shadow of the reign of terror, love triumphs: Chénier and Maddalena find each other, swear eternal love and are faithful to each other until their last breath together.

Andrea Chénier is a verismo opera in four acts by Umberto Giordano, set to an Italian libretto by Luigi Illica, and first performed on 28 March 1896 at La Scala, Milan. The story is based loosely on the life of the French poet André Chénier (1762–1794), who was executed during the French Revolution.

Live from La Scala Saturday 06 July 1985

Hector Sandoval, Norma Fantini, Scott Hendricks, Tania Kross, and Rosalind Plowright star in this production of the Giordano opera performed by the Vienna Symphony, Bregenz Festival Chorus, and Prague Philharmonic Choir conducted by Ulf Schirmer.

Verdi’s life-long love affair with Shakespeare’s works began with Macbeth, a play he considered to be ‘one of the greatest creations of man’. With his librettist, Francesco Maria Piave, Verdi set out to create ‘something out of the ordinary’. Their success is borne out in every bar of a score that sees Verdi at his most theatrical: it bristles with demonic energy.

This ever-popular opera is given a fresh point of view in Barrie Kosky’s highly physical production, originally created for Frankfurt Opera. The Australian director is one of the world’s most sought-after opera directors, whose Royal Opera debut with Shostakovich’s The Nose in 2016 was greeted with delight. For Carmen he has devised a far-from-traditional version, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character.