Magda, mistress to wealthy Rambaldo, wants romance with a younger man. She moves in with Ruggero until his cash runs out.Magda, mistress to wealthy Rambaldo, wants romance with a younger man. She moves in with Ruggero until his cash runs out.Magda, mistress to wealthy Rambaldo, wants romance with a younger man. She moves in with Ruggero until his cash runs out.
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- Giuseppe Adami(uncredited)
- Matt Dobkin
- Ellen Keel
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- ConnectionsRemade as La Rondine (2009)
Featured review
The cast are great, the production is absolutely lovely
This La Rondine was one of two of the Met broadcasts I re-watched, having loved them so much on first viewing. The other was Thais. My opinion of this production still hasn't changed, it is a lovely production, with sumptuous sets and costuming, with a great cast. Beforehand I had seen one production previous to the Met broadcast, and that was the 1998 performance with Ainhoa Arteta.
Overall, I very much loved it and Arteta was touching, but it was a pity about the use of the alternate ending, it is tacky and nowhere near as effective as the ending I'm used to. Fortunately, the Met production doesn't use this ending, and all the better for it. Musically and visually the ending here is a triumph.
La Rondine, as far as Puccini operas go, is not quite one of my favourite Puccini operas, I admit I am attached more to Tosca and La Boheme. However it is a beautiful light opera and alongside La Fancuilla Del West Puccini's most underrated, with moments of humour and is very touching as well. The score is one of Puccini's most beautiful. The orchestra I have say bring out the lyricalism and poignancy of Puccini's score beautifully and I loved the nuances of the conducting as well.
Angela Gheorghiu gets better and better every time I see her. Her Magda is very moving, with some world-weariness and cynicism as well, and I love the dark, husky tone of her singing. I do think she sings Chi Il Bel Sogno Di Doretta with beauty and care, I just wish the audience reception wasn't so tepid. Her real-life husband Roberto Alagna is also very good in one of his better performances, he is handsome, his singing if occasionally on the sharp side intonation-wise charms and his acting is dashing and not too stolid, in fact it is often heartfelt.
There is a very solid support cast also. Faring best is Marius Brencu as Punier, it is a very funny and charming performance. Just as delightful as Lisette Oropesa as Magda's maid Lisette. However, there is one performance that doesn't hold up as well as the others on second viewing and that is Samuel Ramey in the small role of Rambaldo. Ramey is a very distinguished basso, in his prime his voice was rich and commanding and his acting I think is good, better in my opinion than some people give it credit for. However, his normally dark and sumptuous voice is now wobbly and croaky. His acting is acceptable though I give you that, and while disappointing his role is small so it didn't hamper the production too much.
Overall, I loved this production, apart from Ramey it is every bit as good, perhaps even better than my first viewing back in July. 9.5/10 Bethany Cox
Overall, I very much loved it and Arteta was touching, but it was a pity about the use of the alternate ending, it is tacky and nowhere near as effective as the ending I'm used to. Fortunately, the Met production doesn't use this ending, and all the better for it. Musically and visually the ending here is a triumph.
La Rondine, as far as Puccini operas go, is not quite one of my favourite Puccini operas, I admit I am attached more to Tosca and La Boheme. However it is a beautiful light opera and alongside La Fancuilla Del West Puccini's most underrated, with moments of humour and is very touching as well. The score is one of Puccini's most beautiful. The orchestra I have say bring out the lyricalism and poignancy of Puccini's score beautifully and I loved the nuances of the conducting as well.
Angela Gheorghiu gets better and better every time I see her. Her Magda is very moving, with some world-weariness and cynicism as well, and I love the dark, husky tone of her singing. I do think she sings Chi Il Bel Sogno Di Doretta with beauty and care, I just wish the audience reception wasn't so tepid. Her real-life husband Roberto Alagna is also very good in one of his better performances, he is handsome, his singing if occasionally on the sharp side intonation-wise charms and his acting is dashing and not too stolid, in fact it is often heartfelt.
There is a very solid support cast also. Faring best is Marius Brencu as Punier, it is a very funny and charming performance. Just as delightful as Lisette Oropesa as Magda's maid Lisette. However, there is one performance that doesn't hold up as well as the others on second viewing and that is Samuel Ramey in the small role of Rambaldo. Ramey is a very distinguished basso, in his prime his voice was rich and commanding and his acting I think is good, better in my opinion than some people give it credit for. However, his normally dark and sumptuous voice is now wobbly and croaky. His acting is acceptable though I give you that, and while disappointing his role is small so it didn't hamper the production too much.
Overall, I loved this production, apart from Ramey it is every bit as good, perhaps even better than my first viewing back in July. 9.5/10 Bethany Cox
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- TheLittleSongbird
- Jan 24, 2012
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