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Opera by Umberto Giordano

Conductor Pavel Balev

Director Ognyan Draganov

Scenography and Costumes Denis Ivanov

Choreography Silviya Tomova

Concertmaster Anna Ivanova

Choirmasters Mladen Stanev, Stefaniya Ruseva

Rehearsal Pianist in charge Denitsa Petrova

Rehearsal Pianists Miroslav Georgiev, Nataliya Shevchenko

Andrea Chenier – Dario di Vietri /21 November/, Boris Taskov /22 November/

Carlo Gerard – Kiril Manolov /21 November/, Gangsoon Kim /22 November/

Maddalena – Tanya Ivanova /21 November/, Tamara Kalinkina /22 November/

Bersi, a Mulatto maid – Sarai Diaz  

La comtesse di Coigny / Madelon – Tereza Brakalova /21 November/, Daniela Nineva /22 November  

Fleville, an aristocrat / Roucher /an artist, friend of Chenier/ - Evgeniy Arabadzhiev /21 November/, Teodor Petkov /22 November/

Mathieu, the owner of the pub – Zhivko Dobrev  

The Incredible / the Abbe – Ivaylo Yovchev /21 November/, Stoyan Buyukliev /22 November/

Fouquier-Tinville, the Prosecutor – Nikola Marulev  

Dumas, President of the Revolutionary Tribunal – Petar Yankulov  

Chief Butler / Schmidt, a jailer – Hristo Ivanov  

Mixed Choir “Motherland” of Community Center “Motherland” – 1860 – Stara Zagora, choirmasters Emil Minev, Dobrinka Koynova-Birman

 

The plot of the opera takes us to the dramatic events in France during the revolutionary social changes at the end of 18^th century. The conductor Pavel Balev defines “Andrea Chenier” as a musical provocation because part of the arias do not pretend to be popular or loved. The French revolutionary quotes throw a wide shadow over the soft and fragile lyricism in the parts of the protagonists. According to Pavel Balev, the sound of the Revolution has to be open, nervous, vulnerable, impudent. “It is easy for us to instill crudeness and rudeness in the sound, it is difficult to harness it and give it warmth. Should the French dances and the court music of 18^th century be perfumed or we should see then and build them with the eyes full of despise of an enraged crowd? What about the sound of the Orchestra and the Choir: Sound-Wig or sound-cap? False Baroque refinement or street cruelty and rudeness? The actual provocation is in the discovery of the richness of the aesthetic arrangement, in the understanding and sense of saturation and compactness of diversity of the approach and creative realization of the work, in the touch of magic and the eternal values of the European  history and culture! Let us enjoy them! You are welcome!”  

Premiere spectacles: 21, 22 November 2025