Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

OPERA TODAY ARCHIVES »

Performances

Angela Gheorghiu as Magda [Photo © ROH / Catherine Ashmore]
07 Jul 2013

La Rondine, Royal Opera House

La Rondine isn’t Puccini’s finest moment. As drama it’s a retread of La Bohème. The music resembles out-takes from Madama Butterfly. What holds it together is Magda.

Giacomo Puccini : La Rondine

A review by Anne Ozorio

Above: Angela Gheorghiu as Magda [Photo © ROH / Catherine Ashmore]

 

So when an artist like Angela Gheorghiu revives the role, she brings a much-needed extra dimension to the opera. This is the role that helped propel her to stardom together with Roberto Alagna. Now they’re having a bitter divorce, fanned by media sensationalism.

Art imitates life. Ironically, that human background adds poignancy to what is essentially, a fluffy vacuum of an opera, despite its surface charm. Magda sings of her first love, and the kiss that sealed their passion. When she sang this with Alagna the extra-musical frisson must have been intense.It must take incredible courage to revisit this role now, when every note tears open old wounds. For that alone, Gheorghiu deserves respect. So what if her voice isn’t at its resplendent peak? She creates a far more accurate Magda because she accesses the underlying pain that animates the character. Gheorghiu shows that there is more to Magda than her fawning, false friends realize. Pretty and superficial might apply to them. But not to her. When Gheorghiu sings the long sequence beginning with “Ore dolci et divine” the strain isn’t vocal, but emotional. She breaks off the last lines a little abruptly, rather than letting them linger. But that’s far truer to Magda’s true personality.

Artists are not gladiators in an arena. They exist for their art, not for the mob. Some singers attract nastiness that goes far beyond artistic criticism, and descends into vicious personal abuse. It’s bullying, and usually the abuse of women, worse than anything Alagna may or may not have done. If opera is based on human feelings, sensitivity is essential. If we care about opera as art, we should respect the human beings who sing and create it. Gheorghiu is in a difficult position at the moment, so it’s all the more to her credit that she went on at all.

Having braved the personal demons Act One would have awakened in her, Gheorghiu settled into the role ever more comfortably as the opera continued. In the Second act, she felt genuinely fresh, and by the end, she was almost radiant. Her Ruggero, Charles Castelnovo, supported her well. If his voice isn’t quite as lovely as many who have done the part before, he compensated by being a solid foil to the lead. Perhaps the all-important kiss worked its magic, for Gheorghiu’s Magda blossomed again, like the roses in the song. Castelnovo seems genuinely nice, so Magda’s eventual renunciation seems quite natural. Magda has come to terms with her past and doesn’t need illusions of youth and love. Gheorghiu seems to find strength in Magda’s maturity. For once the ending convinces, even though it’s not written with the depth Puccini might have given to his other heroines.

Sabina Puertolas sing Lisette, Magda’s maid. The rapport between Gheorghiu and Puertolas seems genuinely affectionate: they bounce off one another merrily, singing with palpable warmth. The dynamic lifts the opera , defusing the mood. Some of the wittiest musical passages illustrate Prunier’s attempt to turn Lisette into what she can never be. Edgaras Montvidas sang a very good Prunier. He made us hear the “Poet” who thinks in terms of dreams, not reality, casually changing names and identities. Ultimately, La Rondine is a warm-hearted, humane opera where pretensions are overturned. Lisette goes back to being a maid, and Magda (presumably) goes back to being Rambaldo’s good friend. Good nature prevails over delusion.

Marco Armiliato conducted. The production is the Nicholas Joël perennial, as flashy as the life Magda and her friends seem to live. It’s telling that when Magda and Ruggero share their brief happiness that the backdrop shows fake flowers. The real beauty in La Rondine lies in the portrayal of Magda as a human personality. As such, Angela Georghiu is truly vindicated.

Anne Ozorio


Cast and production information:

Magda de Civry: Angela Gheorghiu; Lisette: Sabina Puértolas; Ruggero Lastouc: Charles Castronovo; Prunier Edgaras Montvidas; Rambaldo Fernandez: Pietro Spagnoli; Périchaud: John Cunningham; Gobin: Pablo Bemsch; Crébillon: Ashley Riches; Yvette/Soprano Solo: Dušica Bijelic; Bianca: Hanna Hipp; Suzy: Justina Gringyte; Conductor: Marco Armiliato; Director: Nicolas Joël; Set designs: Ezio Frigerio; Costume designs: Franca Squarciapino; Lighting design: Vinicio Cheli. Royal Opera House; London; 5th July 2013.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):