Before considering the possible reasons as to why La Rondine (1917) has been relatively neglected, Victorian Opera is to be congratulated on mounting Puccini’s later period work so handsomely. True, opera companies around the world will be looking to mark the centenary of Puccini’s death with a production beyond the obvious quartet of Tosca, Madama Butterfly, La Boheme and Turandot, or even his trio of one-act operas, but undertaking La Rondine could be a financial risk for a company wishing to due justice to the opera in terms of staging and musical excellence.
Orchestra Victoria was one risk-free element when it came to the latter, and fully deserved the enthusiastic reception as it took its collective bow. Under the lovingly-wielded baton of Tobias Ringborg, who seems another of those “singers’ conductors”, so responsive was he to balance between singers and orchestra, the orchestra responded with supple ease to every surge of passion and gentle musing of Puccini’s score.
The Act 3 duet between Magda and Ruggero had this listener leaving the Palais Theatre with the passionate music of the Butterfly/Pinkerton “Love Duet” on a more accessible mental playback, so similar were they in certain respects. There were other parts of La Rondine that immediately called to mind Puccini’s other operas, most notably the parallels between the Bullier restaurant and La Bohème Café Momus scene – both constituting Act 2 of these works. There are also allusions to operas by other composers; that four-note leitmotif at the mention of Salome comes over as a piece of fun, but it has the potential of referring to sexual obsession; Richard Strauss used it in his opera Salome (1905) to depict Salome’s obsession with John the Baptist. Of course, the endings of these two eponymous figures are poles apart. The musical landscape too is decidedly more Johann than Richard Strauss, given the infusion of waltz music.
The quality of the music aside, upon reading the program summary, you would be forgiven thinking that the plot was pretty well non-existent – vacuous at best. Here we have yet another “kept woman” enjoying the high life, yearning for “true love” yet finally renouncing it in a self-sacrificing gesture. But Magda is no Traviata (strayed one) as a vehicle for dramatic intensity. There is a certain emotional intensity, however, as Magda revels in her unexpected romantic idyll with Ruggero only to have her worst fears confirmed when he receives a letter from his mother full of what she expects from a daughter-in-law – expectations that Magda knows she cannot fulfill given her history as mistress of the wealthy Rambaldo.
How a modern audience responds to a libretto written over a hundred years ago does not always accord with what was originally intended. Having found a seat towards the back of the theatre to see whether the voices carried in the lower register (they did), I was aware of an audible reaction to Ruggero’s reference to living with his mother. There was a murmur of disapproval that undercut sympathy for the lovers’ predicament; who cares about two people living a self-indulgent, technicolour life at someone else’s expense on the Riviera?
But we did care – a bit anyway – mainly because Kiandra Howarth had so completely charmed us. Clad in a gorgeous green Dior-style dress (think Catherine Deneuve in 8 Women), her delightful personality and beautiful voice had us on her side immediately. Magda’s aria “Chi’l bel sogno di Doretta” is one of Puccini’s most recognisable arias, and a test of a soprano’s ability to sustain soft high notes and a swooning legato line. It was a huge pleasure to hear the ease with which she sang the role.
Korean tenor Won Whi Choi also impressed as Ruggero, his voice never losing its mellow fullness and evenness in the middle and lower registers. His acting was convincingly ardent, with an appealing degree of youthfulness.
It is unusual to have another soprano and tenor in the secondary roles – foils to the main pair. As the poet Prunier, Douglas Kelly gave a spirited performance, his voice less opulent than Won Whi Choi’s but vibrant and well-suited to the role. Nina Korbe gave a commendable performance in the role of Lisette, Prunier’s love interest and Magda’s maid, her high notes particularly sweet and resonant. In Act 1, she was not exactly the “tornado” as described in the libretto, but displayed the assertiveness required by the role. She and Kelly worked well together and were responsible for much of the “fizz” for the evening.
The trio of friends, Sarah Prestwige (Yvette), Michaela Cadwgan (Bianca) and Syrah Torii (Suzy), also added an effervescent touch and gave solid vocal performances.
As Rambaldo, Teddy Tahu Rhodes was just the kind of dependable rock – physically and vocally – that Magda would have sought. He was a place of refuge and a comfortable nest for the returning “rondine” (swallow), unlike the “solitario nido” that Mimi was contemplating for her return to harsh reality.
In Act 2, the male sextet made only a brief appearance, but it was a strikingly effective one, powerful and well-coordinated. The full chorus also impressed with some hearty singing in this Act, not to mention some graceful waltzing. Paris was depicted not so much as “the city of light” as a city of alcoholics. It’s difficult to recall a production where drinking plays such a major role as it did in the first two of the three Acts. Although principal singers were effectively lit at all times, Bullier’s restaurant seemed a rather gloomy place. This, however, did make the final fireworks scene, with the chorus lined up across the front of the stage quite a coup de théâtre – an inspired moment of collaboration between Director Stuart Maunder and Lighting Designer Gavan Swift, abetted by a conductor with precision timing.
La Rondine is not yet another verismo “shabby little shocker”, as music critic Joseph Kerman infamously described Tosca; rather, it is a melodrama with the emphasis on melody – a blend of light-hearted fun and a poignant reminder of what most humans long for and face many obstacles to obtain.
It’s a shame Victorian Opera only gave us two opportunities to see this fine production.
Photo credit: Charlie Kinross
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Heather Leviston reviewed Puccini’s “La Rondine”, presented by Victorian Opera at the Palais Theatre, St Kilda on August 8, 2024.
