Puccini's Neglected Masterpiece
Lacking the verismo melodrama of his better-known works and featuring not a single fatality, never mind death from consumption, murder or suicide, Puccini’s “La Rondine” was sidelined for many years as a ‘slight’ work.
The restoration of this charming opera’s reputation internationally owes a lot to the award-winning 1997 recording conducted by Antonio Pappano and with Roberto Alagna and Angela Gheorghiu in the principal roles.
But three years before that recording, Opera North had returned the opera to the British stage in a production by Francesca Zambello, which production has recently been revived and I saw it on 20 May.
The elegance and bitter sweet charm of the work is captivating, and there are many clever and witty moments in the orchestration (including a quote from Strauss’s “Salome”). All right, there is a lot of music in waltz time, which some find a problem, but I just find that adds to this opera’s rather individual voice.
The opera centres around Magda, a Parisian kept woman. Into her life comes the handsome and charming Ruggero and, she concealing her past life, they fall in love and leave Paris together. He secretly contacts his family and obtains his mother’s blessing for them to be married. In the original version Magda knows that her past makes this impossible and realises that they must part. Opera North chose to present an alternative and later ending in which Ruggero discovers Magda’s past and he rejects her. This choice of ending is a mistake as it robs the central character of a lot of her nobility, turns Ruggero into a cad and also injects elements of anger and brutality into what is otherwise a very delicate and sensitive piece.
Janis Kelly was a touching Magda and Rafael Rojas presented a well-sung if rather oafish Ruggero. The Zambello production still works very well, moving from the claustrophobic dark interior of Act I to the bright gaiety of Act II and ending with the brilliant ‘no hiding place’ sunshine of the Riviera in Act III.
The main problem with the performance was the insensitive conducting of Richard Farnes. His speeds were consistently fast (the singers often struggling to keep up) and the orchestra was far too loud. I do not think it asking too much of a professional opera orchestra to produce something less than a mezzo-forte at some point in the evening. The result of this was that what should be delicate and flowing was brash and rushed and the opera was drained of a lot of its considerable charm.
The restoration of this charming opera’s reputation internationally owes a lot to the award-winning 1997 recording conducted by Antonio Pappano and with Roberto Alagna and Angela Gheorghiu in the principal roles.
But three years before that recording, Opera North had returned the opera to the British stage in a production by Francesca Zambello, which production has recently been revived and I saw it on 20 May.
The elegance and bitter sweet charm of the work is captivating, and there are many clever and witty moments in the orchestration (including a quote from Strauss’s “Salome”). All right, there is a lot of music in waltz time, which some find a problem, but I just find that adds to this opera’s rather individual voice.
The opera centres around Magda, a Parisian kept woman. Into her life comes the handsome and charming Ruggero and, she concealing her past life, they fall in love and leave Paris together. He secretly contacts his family and obtains his mother’s blessing for them to be married. In the original version Magda knows that her past makes this impossible and realises that they must part. Opera North chose to present an alternative and later ending in which Ruggero discovers Magda’s past and he rejects her. This choice of ending is a mistake as it robs the central character of a lot of her nobility, turns Ruggero into a cad and also injects elements of anger and brutality into what is otherwise a very delicate and sensitive piece.
Janis Kelly was a touching Magda and Rafael Rojas presented a well-sung if rather oafish Ruggero. The Zambello production still works very well, moving from the claustrophobic dark interior of Act I to the bright gaiety of Act II and ending with the brilliant ‘no hiding place’ sunshine of the Riviera in Act III.
The main problem with the performance was the insensitive conducting of Richard Farnes. His speeds were consistently fast (the singers often struggling to keep up) and the orchestra was far too loud. I do not think it asking too much of a professional opera orchestra to produce something less than a mezzo-forte at some point in the evening. The result of this was that what should be delicate and flowing was brash and rushed and the opera was drained of a lot of its considerable charm.
posted by Alnwickian at 7:10 pm
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