Stunning performances, compelling visuals hampered by a weak, recycled plot from Puccini
If you’re a fan of opera, take a moment to consider your favorite piece. If it involves an affluent lady and her maid going out separately but ending up at the same nightspot, then you might have a strong affinity for Die Fledermaus. On the other hand, if your preferred work revolves around a kept woman who falls deeply in love with a younger man, ultimately sacrificing her entire existence, happiness, and name, then La Traviata might be more to your liking.
It gets a bit perplexing, and frankly, somewhat derivative, when you find enjoyment in both scenarios. In this case, La Rondine, one of Puccini’s lesser-known works, may catch your interest. While it evokes a sense of déjà vu and doesn’t quite match the emotional intensity of Bohème, Madame Butterfly, or Manon Lescaut, it does offer an audacious Salome quotation. What a treat! But you would be saddened by the lack of an emotionally draining, cathartic death.
However, the deficiency in plot within this production is more than compensated for by its abundant talent. Firstly, the sets exhibit clever engineering as part of the company’s Green Season initiative. Abstract blocks of industrial steel are strategically moved to fashion various immersive locations. In an admirable commitment to sustainability, the scenic elements are shared across three productions, effectively reducing the demand for resources and trucks during touring. Leslie Travers deserves commendation for his ingenious approach.
Similarly, Gabrielle Dalton, overseeing costumes, not only dressed the characters but also created props by utilizing the company’s existing stock or acquiring pre-loved elements. The technical ensemble is perfected by the brilliant lighting expertise of Paule Constable and Ben Pickersgill, coupled with Lauren Poulton’s choreography. Kerem Hasan conducted with brilliance, guiding opera enthusiasts to submerge themselves in the romantic concept that love is always within reach, as hinted by leitmotifs in the orchestration (a characteristic signature of a piece crafted by an Italian composer). Lastly, James Hurley, the mastermind behind the direction, breathed life into the swallow (rondine).
In her debut with the company, soprano Galina Averina, taking on the role of Magda, left a powerful impression through her versatile performance. She skilfully transitioned between a modern, flirtatious behaviour, exemplified in the renowned aria “Chi il bel sogno di Doretta,” where she added depth to Prunier’s sentimental poem, beautifully interpreted by tenor Elgan Llŷr Thomas. Averina then displayed a more reserved, debutant-like demeanour in the second act, eliciting empathy in the third act with her poignant portrayal of the “tart with a heart of gold.”
Tenor Sebastien Guèze, portraying Magda’s young lover Ruggero, convincingly depicted the nuances of first juvenile love. Baritone Philip Smith, in the role of Rambaldo, conveyed a melancholic presence as the wealthy banker unsuccessful in winning Magda’s affection. The evening’s standout moment undoubtedly belonged to Soprano Claire Lees, whose portrayal of Lisette, Magda’s cheeky maid, radiated charming charisma, with particularly crisp top notes adding to the overall enchantment of the performance.
The age-old dilemma between love and wealth serves as a timeless theme, and in the case of this version of “La Rondine”, it prompts reflection on the significance of wealth when weighed against happiness. The opera raises questions about the true cost of money, emphasizing the emotional toll it takes when one must pay with their heart, and explores the dual faces of fate. While the plot may not delve into profound complexities, one could argue that Magda and Prunier parallel Musetta and Rodolfo in later stages of life.
Despite a somewhat disappointing resolution where characters don’t attain their desires, “La Rondine” stands out as a delightful opera, pleasing to the ear. The performance, enjoyed in the company of Opera North, left a fantastic impression, and through the success of this production, there’s a hopeful anticipation that the company will achieve carbon neutrality by 2030.