Umberto Giordano: Andrea Chénier - Sheet music | Carus-Verlag
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Umberto Giordano Andrea Chénier

Opera in quattro quadri

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The opera Andrea Chénier propelled composer Umberto Giordano to his international breakthrough in 1896, and it remains part of the canon of great music theater works to this day. It’s a gripping historical drama, sustained by extraordinary melodic inventiveness and compelling dramaturgy, in which music and language merge in rare harmony. Over time, however, various erroneous readings and musical inconsistencies became established, which were neither clearly identified nor corrected in standard editions. The 2025 edition by Andreas Gies is the first modern, critical edition of the opera to present a reliable musical score free of errors. The comprehensive critical report in Italian and English sheds light on the various stages of the opera’s creation and acknowledges its significance in the history of Italian music theater.
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Full score, for hire, foreword in Italian and English Carus 97.404/00 460 pages, 25,2 x 35,0 cm, paperback
Vocal score, for hire Carus 97.404/03 298 pages, DIN A4, paperback
Set of parts, complete orchestral parts, for hire, also available in digital form Carus 97.404/19
Full score digital (download), pdf file, for hire Carus 97.404/00-010-000 460 pages, 25,2 x 35,0 cm
Vocal score digital (download), pdf file, for hire Carus 97.404/03-010-000 298 pages, DIN A4
Set of parts digital (download), zip file, pdf file, complete orchestral parts, for hire Carus 97.404/19-010-000
The opera is set in Paris before and during the French Revolution, opening at a ball at the Countess de Coigny’s château. As the servant Gérard prepares the banquet with other staff, he openly voices his loathing for the aristocracy. When the Countess appears with her daughter, Madeleine, it becomes clear that Gérard has long been in love with her. One of the guests is the poet André Chénier, who initially resists the crowd’s pleas for a recitation. Madeleine eventually persuades him, but Chénier’s verse turns into an indictment of the nobility and a paean to the poor. The guests are outraged, and Chénier lectures Madeleine about her naive view of life. Just as the dancing begins, a mob of locals bursts in, led by Gérard, who has cast off his servant’s livery. Some years later, during Robespierre’s Reign of Terror, Chénier is still living in Paris. Having recently received letters from an anonymous woman, he looks forward to a great love affair (despite being in grave danger). Yet when his friend Roucher begs him to flee, Chénier agrees to leave the city at dusk. But then he meets Madeleine, who reveals herself as the letter writer. Gérard, now a powerful revolutionary leader, makes his entrance, trying to stop the lovers from leaving. He and Chénier engage in a duel, upon which Gérard is wounded. The poet escapes but is later arrested at a friend’s house. Driven by jealousy, Gérard drafts a formal indictment against his rival. Madeleine visits Gérard, offering herself in exchange for the poet’s life. Greatly moved, Gérard changes course and fights for Chénier’s release, but he is sentenced to death by the Revolutionary Tribunal. Switching places with another condemned prisoner, Madeleine goes to the scaffold with Chénier.
  • Andreas Gies, born in Italy to Italian and German parents, studied flute, piano, composition, singing, and conducting at conservatories in Castelfranco V., Venice, and Milan. He holds a bachelor’s and two master’s degrees and attended masterclasses with renowned conductors like M. Beltrami and D. Gatti. Gies has been assistant conductor at theaters such as La Fenice di Venezia and Regio di Torino. In 2019, he won the “Premio Nazionale delle Arti” and conducted the “La Verdi” orchestra of Milan. His conducting debut was in 2016 at the Mainfranken Theater Würzburg. He has conducted premieres and performances in Milan, Nice, Novara, and Sofia.

    As a composer, Gies has won several competitions and his works have been performed by major orchestras in the USA and Italy. He also produces critical editions of lesser-known Italian operas, collaborating with musicologist C. Orselli. His compositions include pieces for chamber groups, orchestras, and chamber operas.

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