Giacomo Puccini’s La rondine seems doomed to forever being seen as the poor relation. Written in 1917, it was originally designed to be sung in German, but this was thwarted by the emerging war between Italy and Austria. And the opera world more generally has never really embraced the work, even though the reputation of its composer was already well established. The popularity of La bohème, Madama Butterfly and Tosca had all made Puccini a success – he was by then both musically acclaimed and very wealthy.
La rondine (The swallow) is musically quite beautiful with soaring melodies and a wonderfully colourful score. But where those other works have big memorable storylines, full of death, drama and deceit, this one is little more than a novella, a gentle tale of misplaced affections.
This concert staging by the London Symphony Orchestra (LSO) really made the most of the wonderful music with a vivid and sprightly performance under its recently-appointed Chief Conductor Sir Antonio Pappano. And apart from Pappano’s well-known love of Italian opera, this also has a special significance being the first work he recorded with the LSO at Abbey Road Studios back in 1996. Almost 30 years on and now it’s on stage with a cast of wonderful singers and accompanied by the enthusiastic London Symphony Chorus.
The leading lady is Magda de Civry, a glamorous Parisian courtesan and the titular ‘swallow’, sung here by the delightful Bolivian-Albanian soprano Carolina López Moreno, replacing the previously advertised Nadine Sierra who was unable to perform. López Moreno proved to be an inspired choice, singing with real passion throughout. Unlike the other singers, she had no need for a music stand and score, no doubt thanks to her recent engagement in the role for the Teatro Regio in Turin. This deep familiarity allowed her to shine, both musically and dramatically.
Magda sings the most recognisable piece from the work, the beautiful aria ‘Chi il Bel Sogno di Doretta’, which was featured in the 1985 film A Room With a View. López Moreno sang with passion, her glacial notes floating skyward.
American tenor Michael Fabiano was also impressive as her hopeful lover Ruggero, although his countenance did rather belie his lovesick character, undermining the believability of their affair. They sang beautifully together, after a few hesitant moments early on from them both, but this reviewer didn’t really feel their passion or share their heartbreak. As Magda admits in Act 3, “shame and money have been my life”, far from being the “kind and virtuous wife” Ruggero is seeking.
Alongside these two principals, Italian soprano Serena Gamberoni absolutely shone as Lisette, Magda’s maid, who has ambitions of her own. Gamberoni was a delight to watch, singing with verve and showing a wonderful touch for the comedic. She really was a bright star.
Seated on stage behind the singers, the LSO gave a sparkling performance with little musical highlights of a harp here, a trumpet there, a glockenspiel (or two), some rousing timpani and even a celeste and piano. And then behind them, perched above the Orchestra, were the singers of the London Symphony Chorus in fine voice for Acts 1 and 2. It was lovely to see Chorus Director Mariana Rosas run down to the stage for a quick bow as we went to interval.
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Giacomo Puccini is understandably one of opera’s superstars. This gentle work may be less flamboyant than those better-known operas, but it does deserve a place in the repertoire and would be well served by a full staging.
La rondine
Barbican Hall
London Symphony Orchestra with conductor Sir Antonio Pappano and the London Symphony Chorus
Performers: Carolina López Moreno, Serena Gamberoni, Michael Fabiano, Paul Appleby, Ashley Riches, Sarah Dufresne, Angela Schisano, Marvic Monreal, Hector Bloggs, Tom McGowan, Sang Eup Son
La rondine was performed on 10 and 12 December 2024.
