by Mickie

This was Andrea's "official" US debut, and it couldn't have been more elegant or more important. It took place at the Kennedy Center in Washington, DC. Everyone in black tie. Some of the guests for the gala dinner included Sandra Day O'Connor, US senators, and ambassadors from many countries. The dinner was a stylish affair, as you would expect, with a lovely Italian red and California white wine at each table. But nothing could prepare me for what was to come... 

The concert hall isn't vast - good sized, but not too large at all. I believe it seats 2400. It’s sold out, and I read that Andrea’s performance has raised millions for the Kennedy Center.

I can't believe I'm actually going to see Andrea live for the first time. The houselights dim and Leonard Slatkin, the conductor, enters and the orchestra plays the overture to Candide. Then the moment arrives. Slatkin leaves and returns with Andrea on his arm. He stands to sing, and I'm rather surprised to see no microphone and no scarf! He's wearing a very cool tux with asymmetrical lapels and one button. He looks beautiful. His hair is not blown back, but forward, although his bangs are parted in the middle to reveal his brow. He kind of tugs at himself before he begins to sing. He looks very nervous to me, and very tired. He starts with "La donna e mobile." Although it’s true his voice is not huge, it’s clear and beautiful. He receives much applause and "Bravos." Now he sings "Pourquoi me reveiller." Also well recieved. Carlo Bernini comes out and stands behind him and waits for the applause to die down a little, touches Andrea, and Andrea takes his arm, smiles and turns to the audience to wave on the way out of course! His stride is long and purposeful walking on and off the stage - not hesitant at all. His smile is big, but quick. He's still nervous. Several times during the performance, you could see him reach for The Scarf That Is Not There, and he seemed not to know what to do with his hands. Another thing I noticed is that he kind of leans over to sing certain notes. This must just be habit, as there is no microphone.

The orchestra plays the intermezzo from Cavalleria Rusticana. Bernini leads Andrea back on stage. He sings "E lucevan le stelle." Beautiful. The sob at the end somewhat subdued, as on Aria. Lots of "Bravos" and applause. Bernini escorts him off. The smile, the wave.

Now the soprano comes out. She is a last minute replacement for the scheduled soprano, Cecilia Gasdia, who is ill. Her name is Hei-Kyung Hong. She’s Korean, and she is lovely. She sings "Vilia" from the Merry Widow, and it’s clear that the audience loves her. She leaves and brings Andrea back with her to sing "O soave fanciulla." It’s really, really nice. He puts his arm around her, and they are very flirtatious. She is a coy Mimi. When he sings "Nel bacio freme amor," he bends his face down to hers and she lifts her face up to his and they get very close. Then when he sings "E al ritorno?" and she replies "Curioso!" they're almost laughing - flirting with each other. They sing a lot with her hand in his, placed on his chest. They look like lovers, and as if they reallly enjoy each other.They're wonderful, and the audience goes crazy! We love this one! Many bows. They leave and we bring both of them back for more bows. Now he’s smiling and maybe a little less nervous?

Then a Verdi overture from the orchestra, and Andrea is led back out by Bernini and he sings four Neapolitan songs by Tosti: "Non t’amo piu," "Sogno," "Malia," and "La serenata." The only one I’m familiar with is "Sogno." Again, I think it’s beatiful. But I think he’s tiring. And again, a little fidgeting with the hands. Bernini leads him off again.

The orchestra and choir now do the Polovitsian Dances by Borodin. Very dramatic. The soprano comes back out and sings "O, mio babbino caro" very nicely. She leaves and brings Andrea back with her to sing "Brindisi." It's received very well. It’s over. But no! An immediate standing ovation, and thunderous applause. They come out and bow again, leave, come out and bow again, and leave.


He's teasing us! The applause never stops. Andrea returns for an encore. His first encore is Schubert’s "Ave Maria," in Italian. It’s very beautiful and haunting, and just before he begins to sing it, he folds his hands in front of him as if in prayer for a moment. Ah, that was so charming. Then, more applause, and another encore. He then sings "Panis Angelicus." Now another standing ovation, applause, applause, applause. We bring him back again and again. The orchestra is waiting. He speaks with the conductor. It looks as if the conductor wants him to sing again, but Andrea’s body language and gestures indicate that he is totally spent and exhausted, and just doesn’t have another song in him this night. We don’t give up, though. We continue to stand and applaud, but as he leaves for the last time, we say, "Nooooo!" But now the orchestra gets up. There will be no more music tonight.