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AND HEARD INTERNATIONAL OPERA RELAY REVIEW
Met Opera Live - Puccini, La Rondine:
Metropolitan Opera’s HD transmission live to
the Barbican Cinema, London. 10. 1.2009 (MMB)
The Metropolitan Opera live in HD series continued on
Saturday with one of the lesser known and least
performed of Puccini’s operas: La Rondine (The
Swallow). The story of
La Rondine is a variation on the theme of the
“fallen woman” who redeems herself in the end through
supreme sacrifice and usually death. In literature,
this was immortalised in Dumas’s La Dame des
Camélias, which in turn has inspired other great
works in various art forms; the most famous of which
is probably Verdi’s La Traviata. However, the
plot of La Rondine is considerably weaker by
comparison: there is no moving, pleading father to
trigger the heroine’s supreme act of self-sacrifice ,
she does not die in the end and so does not become
completely pure.
In La Rondine, Magda (the mistress of a rich
man) falls in love with the student Ruggero and goes
away with him to the Riviera, pursuing her dreams
(hence the title ‘the swallow’ as these birds migrate
in winter to the South in search of a warmer, more
pleasant climate). Ruggero has no idea of who she
really is and eventually, writes to his family and
tells them about Magda and their love.He receives a
reply from his mother where she declares how happy
she is for him and that she is looking forward to his
marriage and future children. On reading the letter,
Magda feels guilty and so renounces Ruggero,
sacrificing her love for his greater good. Unlike the
heroines previously mentioned, Magda does not die
but returns to her former life, as a mistress of the
rich Rambaldo who takes her back. From a modern
perspective, it all seems rather silly: would a woman
in Magda’s position really confess all because of
such a letter? And again, once Magda feels compelled
to tell Ruggero the truth, his reaction to the
prospect of losing her means that his love is strong
and he really does not care about her past. The fact
that he simply lets her go makes his character not
only implausible but also lacking in personality.
This obvious weakness of the plot may explain why
the opera has not been particularly successful. A
second reason is arguably the sub-plot, involving the
characters who provide the comic relief: Magda’s
friend, the poet Prunier, and her maid, Lisette.
Their characterisations are not well developed and
the story line appears at times illogical and often
muddled. It is implanted suddenly in the main plot
during the first act. Without any preliminary
explanations or at least innuendos that there was
something going on between the two, the audience is
suddenly told that Prunier and Lisette are deeply in
love with each other. There are also no hints of
Lisette’s aspirations at becoming a singer or that
Prunier would be able to help her succeed in such a
career. This information is dropped into the middle
of the third and final act, leaving the audience a
little stunned even though there is a parallel
between the two women: they both return to their
former lives. Magda does so because she recognises
that she has no right to “corrupt” an innocent man
and renounces her love; Lisette returns because she
realises that her only talent is to be a maid.
The libretto was a translation by Giuseppe Adami from
an original in German by A. M. Willner and Heinz
Reichert. La Rondine started life as a
suggestion, made to Puccini in 1913 that he should
compose an operetta for the Karltheater in Vienna.
Eventually, the composer agreed but insisted that it
should be a comic opera and that the text should be
in Italian. When the German libretto arrived, Adami
translated it. Puccini completed the score in October
1915 but World War I delayed its first performance
and the composer had to wait until 27th
March 1917 for the opera to be premiered at the Salle
Garnier in neutral Monte Carlo.
Puccini’s music for this not so great libretto is
however completely wonderful and brilliantly
composed. The score to La Rondine reveals a
surprising side to the composer, demonstrating that
he mastered a lighter musical style, as effectively
as he did the more dramatically powerful of his
earlier more famous operas. Puccini’s almost magical
lyrical touch, his celebrated trade-mark from such
master pieces as La bohème, Tosca or Madama
Butterfly is also present in La Rondine and
it is the music that makes the opera worth
producing. The score is richly melodic and there are
some unforgettable moments, in particular Magda’s
aria Chi il bel sogno di Doretta, in Act I,
and the fabulous ensemble piece Bevo al tuo fresco
sorriso, in the Act II.
This transmission of La Rondine is a
co-production from the Met, the Théâtre du Capitole
in Toulouse and the Royal Opera House, Covent Garden.
It was devised by Nicolas Joël in an art-deco style
and the settings designed by Ezio Frigerio are simply
gorgeous. It stars Angela Gheorghiu as Magda and her
real life husband Roberto Alagna as Ruggero. I am not
the greatest fan of either of them but I have to say
that this opera is a perfect vehicle for both. Their
chemistry is undeniable and the fact that they are
happily married was visible on stage, providing some
wonderful scenes of easy intimacy and real
tenderness, which made Magda and Ruggero a
believable, real couple, completely in love with each
other.
At the beginning of the performance, the Met’s
general manager announced that Ms Gheorghiu was
unwell with a bad cold, but did not wish to
disappoint the audience at the Met nor the thousands
in the cinemas around the world and would sing. If
this was true - and there is no reason to think
otherwise - then it did not impair her performance in
any way. Gheorghiu sang a part that fits her like a
glove flawlessly. She is positively radiant and
endearing as Magda, looks fantastic in the beautiful
costumes designed by Franca Squarciapino and there is
never any doubt that any man would just fall for her.
Alagna does not exactly appear believable as the
young, somehow innocent student but once he falls in
love with Magda, he comes into his own. He sings
expressively of love and passion though his voice
fades a little, on occasions, particularly in the
first duet with his wife and then during the ensemble
piece in the second act. However, his acting and his
singing became better and better as the opera
progressed. His feelings always ring true and his
final scene, in which Magda leaves him, is incredibly
moving and touching. Alagna sheds some real tears
here; one truly believes that he is devastated and
does not know how to continue living.
The young American soprano Lisette Oropesa, as the
maid Lisette, is a wonderful revelation. She is not
only an excellent singer but has also great comic
timing. The youthful enthusiasm with which she
launches into her role is as commendable as is
touching. She is sassy, funny and lively, creating an
endearing character while providing some beautiful,
crystalline singing. As her partner Prunier, Romanian
tenor Marius Brenciu is excellent and makes the most
of his difficult and undeveloped character. His voice
is wonderfully clear; he sings with great ease and is
to my mind superior to Alagna in some of his scenes.
Bass Samuel Ramey makes a good, solid, sympathetic
Rambaldo and delivers his part effectively, as do the
rest of the cast and members of the chorus.
Marco Armiliato leads the orchestra of the
Metropolitan Opera in a lively, suitably humorous yet
also touching performance of Puccini’s beautiful
score. He demonstrates a great insight into the
composer’s lyricism and an excellent understanding of
what Puccini possibly wanted to hear.
Two of the features of the Met’s live transmissions
are of course the presence of a famous host or
hostess and the interviews during the interval. This
time, the opera was introduced by Renée Fleming who
also conducted the interviews. She did it in a
professional, pleasant manner though it was at times
obvious that she feels a little more anxious and less
secure about this type of work than she does on
stage. The interview with the two leading stars was
interesting at first but soon became a slightly
irritating exchange of compliments between Gheorghiu,
Alagna and Fleming on how great all three of them
are. Fleming was a more effective hostess during the
second interview with the “lesser” stars Brenciu and
Oropesa. The American soprano conducted a pleasant
conversation, which sounded natural throughout, in
spite of her continuous glances at the cue-cards in
her hand. The quality of this interview was partially
due to Oropesa’s spontaneous, genuine enthusiasm
despite Brenciu’s obvious uneasiness when Fleming
asked him if Gheorghiu had been supportive since he
is her fellow Romanian!
All in all, this performance of Puccini’s La
Rondine did not disappoint. It is a delightful,
beautiful and truly gorgeous production, mostly due
to Nicolas Joël’s vision of an art-deco set. Part of
the credit must also go to the set and costume
designers who so brilliantly translated Joël’s
concept. The settings are fabulous and tasteful; the
costumes wonderful, with radiant colours, especially
the women’s gowns. Important to the success of the
performance is also the obvious chemistry of
true-life couple Gheorghiu and Alagna: the happiness
of their marriage really is naturally transported to
the stage making Magda and Ruggero’s relationship
event more poignant and convincing.
The transmission was expertly directed for film and
television by Brian Large; an experienced, talented
director who has given viewers many wonderful
moments, not least some of the prestigious broadcasts
of the annual New Year’s concert in Vienna. It made
for pleasant viewing, with excellent camera work,
alternating well between close-ups of the singers and
wide shots of the set and ensemble on stage. The
sound was generally excellent though at times there
were minor distortions, particularly on the higher
notes or the most powerful orchestral moments.
Whether this was an original fault at the Met or at
the Barbican cinema, I could not tell but it did not
in any way distract from an excellent performance and
a wonderful evening.
Margarida Mota-Bull
The next Met Opera Live broadcast is on 17th
January of John Adams’ Doctor Atomic and is
followed on 24th January, by Gluck’s
Orfeo ed Euridice.
Margarida Mota-Bull's operatic e-novel, Canto de Tenore is
available
Here
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