The tenor Marius Brenciu, in his Met debut as Prunier, and the coloratura soprano Lisette Oropesa as, appropriately, Lisette offer sweet, lively and well-sung portrayals. She hurries over to a table at which Ruggero is sitting alone. Well there are no bedroom scenes in this production but it provides a perfect vehicle for this star couple, which is perhaps why they have done so much to rescue this opera’s reputation in recent years. Vocally, both leads are somewhat disappointing. After they too have gone, she tells Lisette that she will remain at home that evening. Late Puccini with star power. Attempted Rondine dramatizations are another matter – and not necessarily due to the usual lousy-libretto problem.
This second act at Bullier’s dance hall matched the evening, with an oversized mirror ball dangling from the ceiling as Alagna’s thrilling upper register opened up for the love duet. They chat and Ruggero tells Magda that she reminds him of the quiet and elegant girls from his home town, Montauban. Suddenly nostalgic, Magda recalls her life as a young working girl and happy evenings spent dancing at Bullier’s, where she first experienced love Aria: Use the HTML below. Anyway, she reminds him of her colorful biography, makes him weep and returns to the banker. Alagna first appears in his tan suit and vest, hoping to make a good impression on the banker Rambaldo, an old friend of his father, he conveys the character’s mixture of intimidated awe and eagerness upon arriving in the big city.
She is ably partnered by Romanian Marius Brenciu as the poet Prunier. Lisette is ordered by Rambaldo to bring in the guest.
Magda, a glamorous courtesan, remembers a blissful encounter with a student when she was young and innocent. There are two soprano-tenor pairings in the opera, the other being Lizette, Magda’s maid and Prunier, a poet. Fortunately these drawbacks do not impair Gheorghiu’s vocal performance, which remains heartfelt and beautifully phrased. Some of the guests suggest that Prunier should compose a song based on Magda’s story but synnopsis declares a preference for songs about perverse heroines, such as Berenice or Salome.
Prunier starts it off in Act I until Magda sidles over to the piano, picking up the tune with swooning high notes.
First, she appears at a party as a worldly Parisian woman, Magda, who questions her existence with a wealthy older man while reminiscing about a brief youthful infatuation with a handsome stranger at a dance hall.
Ruggero invites Magda to dance to the strains of “Nella dolce carezza della danza” “In the soft caresses of the dance”with tenor and soprano singing sensuously in each syhopsis arms as though transported. Eric Myers, Syjopsis5 January Prunier takes offence and Magda orders Lisette to leave.
This piece of fluff by Puccini is his least successful opera but is hugely enjoyable as a star vehicle for Sgnopsis Gheorghiu and Roberto Alagna. Magda’s tearful insistence to her lover that “I cannot enter your home Puccini Pilfers A barely sketched subplot features Lisette, Magda’s ambitious maid, wearing madame’s clothes for a night out on the town and briefly pursuing a theatrical career.
Prunier and Lisette arrive. Ruggero tells Magda that he has written to his mother to ask for money to pay their growing debts and for her consent to his marriage to Magda.
In the third version of the opera, Puccini changed the final act again, adding a scene in which Rambaldo comes to beg Magda to return to him, and ending with Ruggero’s discovery via an anonymous telegram of who Magda really is, his angry rebuke of her, and his decision to leave her for ever.
Although she may look even better than she sounds softer high notes would be welcomeshe sustains lustre and expressive point throughout. Her stances and gestures are uncharacteristically awkward and wooden. Ruggero implores Magda not to abandon him Ma come puoi lasciarmibut Magda is adamant that synoosis cannot remain together, and that Ruggero must return home.
Puccini: La rondine
Best not to search for logic behind the Metropolitan Opera’s opening of a new production on New Year’s Eve, or why the opera in question was Puccini’s little-known La Rondine, and why its notoriously temperamental stars. Angela Gheorghiu and Roberto Alagna, are being such good sports about working over the holidays. Even the waltzes and hints of tango that run through “La Rondine” are weighty, busy and harmonically thick. They know and anticipate each other’s moves effortlessly.
Manuela Hoelterhoff, Bloomberg News5 January In other projects Wikimedia Commons. They dance happily together. The colorful sets by Ezio Frigerio contribute to this production’s charm, even if they draw from a mixture of styles. The conductor, Marco Armiliato, in what may be his best work to date at the Met, draws a nuanced and supple performance from the orchestra. You can practically smell the sea air. Marco Armiliato imposes breadth and warmth in the pit, and accommodates his cast generously.
Magda re-enters, disguised as a working girl.
La rondine – Wikipedia
She writes the name on the tablecloth and Ruggero adds his own beneath. However, despite the artistic value of the score, La rondine has been one of Puccini’s less successful works; “In box office terms, [it] was the poor cousin to the other great hits.
In this he reminds me of Mozart or, for that matter, Stephen Sondheim, who sometimes during perky ensembles will keep the complex musical details below the surface, as if to say, “Don’t concern yourself, this is my business, just sit back and enjoy the show.
The laa couples sit together and drink a toast to love.
Then, on a whim, she determines to disguise herself and go to Bullier’s as well. Well there are no bedroom scenes in this production but it provides a perfect vehicle for this star couple, which is perhaps why they have done so much to rescue this opera’s reputation dondine recent years.
Why then, does this ferociously stagewise performer seem so ill-at-ease in a production that is already familiar to her? Messa di Gloria