Books : 'Eat me, drink me, love me': Eucharist and the erotic body in Christina Rossetti's Goblin Market.(essay)(Victorian poetry studies)(Critical essay) : An article from: Victorian Poetry

One of the most unjustly underrated Italian operas receives a production that should help correct that attitude. Andrea Chenier is based on the true story of a poet who was caught up and destroyed by the blind fury of the French Revolution. Giordano's music captures the acrid flavor of that movement, the cynicism of some of its leaders, and Chenier's integrity and tragic fate. This production's value has probably increased since Plácido Domingo, the leading Chenier of his generation, has dropped the role from his repertoire.

All three principals sing eloquently and with a fine sense of the opera's structure and context. Anna Tomowa-Sintow is in even better voice than Domingo, and Giorgio Zancanaro heads an expert supporting cast. The Covent Garden Chorus, directed with distinction by Michael Hampe, gives a memorable impression of the revolutionary mob. Julius Rudel's conducting is totally idiomatic. --Joe McLellan

It would have been better, of course, if this 1984 production of Donizetti's Anna Bolena, or at least its title role, had been filmed 20 years earlier, when Joan Sutherland's voice was in its spectacular prime. But like her Canadian Opera Norma, dating from 1981, this is a better-late-than-never documentation of one of the most remarkable voices of the 20th century.

Lotfi Mansouri spared no effort or expense in making this production special. He personally directed the staging, and handpicked an outstanding cast (right down to the very young and then-unknown Ben Heppner in the small role of Hervey). The visual elements--sets, costumes, and camera work--are also handled with great care, and Sutherland's positive response to this dedication can be sensed in her performance as the unfortunate wife of King Henry VIII. James Morris is best-known as a Wagnerian singer--perhaps the leading Wotan of our time--but he is equally at home in many of the villainous roles that are the fate of bass- baritones (Iago, Scarpia, Don Giovanni). In this sinister tale of an innocent woman ruthlessly destroyed, he shows a surprising knack for the bel canto style. Judith Forst is also excellent in the role of Jane Seymour. --Joe McLellan