We are used to hearing Puccini in epic tragedies set in exotic locales or infused with verismo political undertones. La Rondine is about the European aristocracy and is more frivolous in comparison to Puccini’s most popular works. Yet the Italian maestro manages to infuse his soaring melodies and poignant orchestration with a passion that elevates even the most hackneyed soaps into arresting dramas. Through Puccini’s musical lens, meddling gossip suddenly turns into the most important thing in the world. Opera San Jose tackled the challenge of this lesser-known work with the required dedication. In the company’s interpretation of the opera, Rondine sounded no less powerful than La Bohème or Madama Butterfly, and did so in a shorter amount of time.
Under Rohrbaugh’s direction the orchestra expertly handled Puccini’s transitions from solo highlights to grand orchestral swells; from gorgeous romantic melodies to colorfully dissonant transitions. The instrumentalists played with plenty of energy in this Sunday afternoon concert.
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Soprano Jasmina Halimic in the role of Magda dominated the stage thanks to a number of factors. Jose Maria Condemi’s stage direction channeled the entire ensemble’s visual energy towards the alluring courtesan’s beautiful figure. The diva basked in this energy and radiated it outward again with an attractive stage presence. The beautiful lines that Puccini bestowed upon this role didn’t hurt either. But the main reason for her dominance was the smoothly striking amplitude of her voice—easily the most powerful in the Sunday matinée cast—though this power sometimes came at the expense of pitch accuracy and vocal control.
In the role of Magda’s maid Lisette, Jennie Litster didn’t quite match Halimic’s sheer volume, but provided a refined sense of diction and breath-support. J. Raymond Meyers convincingly played poet Prunier as a petty meddler, executed with humor and charm, but leaving some vocal tone to be desired. Alexander Boyer as humble Prince Ruggero, though somewhat visually lethargic on stage, supported Halimic’s soaring high notes faithfully but it wasn’t until the very end of the opera that had the opportunity to reveal passionate singing of his own, saving the best for last.
But the absolute highlight of the Opera was the climax of the Act II bar scene, in which David Kurtenbach’s chorus joined the cast and the orchestra in an impassioned and intoxicated outburst of classic Puccini greatness. The chorus wasn’t exactly rhythmically together with the orchestra—they were all supposed to be drunk so no matter—as long true conviction was evident. “I can die now,” quipped my concert going partner as the roaring applause faded follwing this memorable moment.
Apparently, this Opera has several alternate endings. So even though this story has already been told by Verdi and others, the conclusion is still up in the air. Will the Magda, with her taste for rich men, live happily ever after with the bankrupt Prince? Will she return to her elderly sugar daddy? Or will she jump off the cliff in to the ocean as most of Puccini’s heroines do? I won’t spoil it, though I will hint that the Opera’s title may give a hint to the answer.
The show repeats April 29th, May 1st, 2, 4, 7th, and 9th at the California Theater in San Jose.
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