There is something of Halley’s comet about Umberto Giordano’s most famous opera “Andrea Chénier.” It reappears every so often (happily not so infrequently as every 75 years) excites and dazzles, leaves verismo fanatics in paroxysms of delight, then vanishes back into the operatic firmament. With the recent notable exception at La Scala, productions of “Andrea Chénier” have invariably been connected to {…}