Better With Age?

You're in trouble when the composer declares the libretto of his own opera to be "a piece of obscene trash."

by Peter Burwasser

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Published: Apr 4, 2007

You know you're in trouble when the composer, one actually renowned for tearjerkers, declares the libretto of his own opera to be "a piece of obscene trash." Thus did Puccini describe the book to his 1917 La Rondine (The Swallow). And who are we to argue with the composer? The story line is disjointed and without real direction, and the denouement — in which a woman with a less-than-virtuous past breaks off an intense relationship with a younger man so as not to sully his family's reputation — is tired beyond words. Can't an old lady have some fun in these operas? In an age where Britney and Paris have elevated shamelessness to a high art form, it is hard to relate to or even comprehend this mentality.

If this reaction is true for most people, then there can be only one explanation for the sea of beaming, satisfied customers flowing from Prince Music Theater after two and a half hours of theatrical drivel: the music. La Rondine is light Puccini, without the clarion passion of La Boheme and Madame Butterfly or the grandiosity of Turandot. Puccini is not associated with comedy, but on the rare occasions when it is called for, he shows an easy mastery. There are moments of lovely, gentle humor that light up La Rondine, and the overall feel is buoyant and even glowing, expressed by an exquisitely wrought, gossamer-textured score.

Indeed, the orchestra is a star performer in this opera, and having the Curtis Chamber Orchestra on hand assures a gracious and lucid presentation. David Hayes, conducting with ever more precision and elegance over the years, was at the podium. The singing was variable, but the leads gave strong presentations. Karen Jesse, portraying the sexpot Magda, found confidence and control as the evening went on. Unfortunately, her big moment came early, and the great Act 1 aria — the opera's one big hit — suffered from overly wide vibrato and pitch-control problems. Dominic Armstrong, a tenor from Missouri who played Magda's suitor, was the cast's standout, displaying a rich, accurate voice and easy, natural acting.

With minimal blocking and basic costuming, this concert version of La Rondine was a perfectly fine way to present an opera. Still, Curtis should revert to past practices of leaving the orchestra in the pit. The sound was great, but it was too distracting to watch the near-misses with the instrumentalists as the singers came waltzing into the footlights.

(p_burwasser@citypaper.net)

LA RONDINE, Curtis Opera Theatre at Prince Music Theater, March 30, 8 p.m.

 

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