My evening at the Auditorium de Lyon on Tuesday, October 15, for Andrea Chénier was nothing short of extraordinary. This was my first time hearing Giordano’s opera live, and to say it was impactful would be an understatement. The chance to experience the iconic aria “La mamma morta”—made famous by Maria Callas—is something I had been longing for. Hearing it live, with the full power of the orchestra behind it, was a revelation. It’s an aria that simply doesn’t have the same effect in recital form with just a piano. Last night, it was truly spine-tingling.
Riccardo Massi delivered a flawless performance as Andrea Chénier. Having recently seen him as Calaf in Berlin, where he received a triumph, it was a pleasure to hear him again—this time in Giordano’s powerful score. His phrasing, diction, and emotional depth were impeccable, and this role seemed tailor-made for a tenor like him. From the moment he stepped on stage, every aria was a hit—there’s no downtime for Chénier, and Massi nailed every note with grandeur.
Anna Pirozzi as Madeleine de Coigny was simply sensational. Her interpretation of “La mamma morta” was nothing short of divine. She received a well-deserved ovation after the aria, and the audience was swept away by her performance. Anna Pirozzi is not only a world-class soprano but also one of the most approachable and kind-hearted artists I’ve encountered. Fluent in multiple languages, she easily connects with her fans across Europe, and it’s no surprise that she has such a strong following.
As for Amartuvshin Enkhbat, what can I say—he’s such a powerful performer, and I’ve grown so accustomed to seeing him as Rigoletto that I almost expected him to launch into “Sì, vendetta”! He was exceptional as Charles Gérard, embodying the character with both force and restraint. His rendition of “Nemico della patria” was a personal highlight for me. It’s an aria that brims with tension, charisma, and dramatic weight, and Enkhbat delivered it masterfully.
A special mention has to go to Daniele Rustioni, the conductor. He’s a passionate, dynamic presence on the podium, completely in sync with his orchestra and the singers. Watching him work was an absolute pleasure, and I can’t resist throwing in a personal plea: Daniele, if you’re reading this, I would love the opportunity to attend a rehearsal of La Forza del Destino next March at the Opéra de Lyon!
The performance was held at the Auditorium de Lyon, a venue I hadn’t been to before, but it’s the perfect setting for concert-style operas like this. The acoustics were excellent, and the welcoming atmosphere made the whole experience even better. I’ve become quite fond of these concert versions of operas. Lyon and Monte Carlo have really embraced this format, offering “flash” operas that give audiences a chance to focus purely on the music and the vocal brilliance. It’s a format I adore, and it feels like a breath of fresh air amid a packed opera season.
The same Andrea Chénier cast is heading to Paris to perform at the Théâtre des Champs-Elysées this Friday, and what a treat it will be for the Parisians to experience this! They are in for something truly special.
