‘La Rondine’ gets stylish production
By Juliet Schoen / Special to The Malibu Times
Based on the production by the Los Angeles Opera, “La Rondine” should be in every company’s repertoire. This rarely shown opera by Puccini has all the elements needed to make it grand. The Music Center version did it full justice.
It had superb singing, three sensational sets, colorful costumes and an orchestra that could make the elegant Puccini music soar.
“Rondine,” which means “swallow,” refers to the heroine who longs to find true love and fly with him to the sea. Alas, when she does find love, it eludes her because of her past as a rich man’s mistress. Any similarity to other operas is to be expected.
Patricia Racette sings the role of Magda, the romantic courtesan, and it is difficult to believe that anyone can do it better. She has a beautiful soprano voice and uses it intelligently. From the first aria to the last, she thrills the audience with her clean, clear notes in every range.
Opposite her as the young student she loves is Marcus Haddock, who has established himself worldwide as a tenor of note. Looking young and innocent, he is the answer to her dream. And he can sing! Magda’s “benefactor” who spoils her amorous tryst is well played and well sung by David Pittsinger.
Puccini is said to have wanted a touch of comedy in this opera and he succeeded by introducing Prunier, the poet, and his love, Lisette, the maid. Their little scrimmages are delightful as played by Greg Fedderly and Amanda Squitieri. Others in the cast who acquit themselves well are Karen Vuong, Silvia Vasquez, Angel Blue, Dale Travis, Paul Floyd and Levi Hernandez
The sets are truly stunning. Magda’s home in the first act is a decorator’s delight. The Bullier’s nightclub in the second act is breathtaking, with its stained glass ceiling and walls. Dances, including the famous can-can, are performed as part of the café’s entertainment. Finally, the little house by the sea is any romantic’s dream getaway. How did they get the waves to come forward over the proscenium?
The opera, as produced and directed by Marta Domingo, proves her to be an artistic force. She manages to create movement in what could be a static work. Michael Scott is listed as designer, which is a very weak term to describe his creativity. The choreography credited to Kitty McNamee featured Stephanie Landwehr and John Todd. The lighting designer, Mary Louise Geiger, deserves to be mentioned. The Los Angeles Opera Orchestra was directed by Keri-Lynn Wilson and sounded great, as usual.
The current season of the Los Angeles Opera comes to an end on a high note.