Opera Review: Puccini's La Rondine and Puccini's Tosca

Puccini’s La Rondine (Tickets: 020 7304 4000; £10-£225) and Puccini’s Tosca, Royal Opera House, London WC2 (Tickets: 020 7304 4000; £8-£175).

Castronovo as Ruggero and Gheorghiu as Magda Castronovo as Ruggero and Gheorghiu as Magda

For a wallow in nostalgia there’s nothing to touch Puccini’s lyrical comedy La Rondine. The title translates as The Swallow, the name given to Magda, mistress of a wealthy Parisian banker, who falls for an innocent young man and flies south in search of happiness.

Puccini was suffering from diabetes, years of marital strife and a series of court cases at the time he wrote it, which may account for its yearning for the days of carefree youth. Premiered in 1917 the opera was dismissed as slight. It was only in 2002 that the Royal Opera got round to staging La Rondine in Nicolas Joel’s elegant production that conjures up the early Twenties. There are three gloriously decadent sets designed by Ezio Frigerio: the Egyptian revival salon of Magda’s house in Paris, the bustling dance hall of Bulliers and the sun-filled conservatory of a Riviera hotel.

Angela Gheorghiu returns to the role of Magda in the second revival. It’s her first appearance at Covent Garden since the announcement of her divorce from tenor Roberto Alagna and there’s an echo of life imitating art in her portrayal of Magda. She’s the central presence and the voice is still lovely though tending to indistinctness when she is not singing out.

As naive country boy Ruggero, Charles Castronovo fills the role proficiently. His anguish is moving in the final scene when Magda, having realised she will never be accepted as daughter-in-law by his virtuous mother, tells him their affair must end. The cynical may wonder whether unpaid Riviera hotel bills influenced her decision.

There are fine performances from Pietro Spagnoli as Magda’s rich, long-suffering protector Rambaldo and from Edgaras Montvidas as society wit Prunier. Sabina Puertolas romps through the role of feisty maid Lisette, who purloins clothes from Magda’s wardrobe for her own assignations, in what seems a straight lift from Die Fledermaus.

After La Rondine’s subtle charm Tosca comes as a bold, brassy shock. Premiered in 1900 its violent tale of sadism, rape and torture in Rome during the Napoleonic wars led to the newly famous Puccini being accused of sensationalism.

Despite, or because of this, Tosca became a staple in the operatic repertory. Jonathan Kent’s 2006 production is certainly a regular at Covent Garden, guaranteed to pack them in. The sets by Paul Brown with lighting by Mark Henderson are evocative of Caravaggio paintings in the accents of light and shadow with rich gold and red in the first act church of Sant’Andrea della Valle. Police chief Scarpia’s apartment is decorated in shades of dried blood while Castel Sant’Angelo, where Cavaradossi faces the firing squad, is bathed in misty morning light.

The production has seen a number of cast changes in the leading roles though I note Jeremy White continues tirelessly through the years as the Sacristan. Martina Serafin, returning to the title role, has perfected the changing moods of Tosca, from vulnerable diva to fiery opponent, ready to bargain for her lover Cavaradossi’s life outside Scarpia’s torture chamber.

Scott Hendricks as Scarpia has a dark baritone that sounds evil, though an unassertive appearance. Chunky Latvian tenor Aleksandrs Antonenko seems miscast as Cavaradossi. His stentorian voice has little of the Latin lyricism needed for the role and he’s ill at ease in the love scenes.

In the pit conductor Daniel Oren whips the brass into an ear-blasting frenzy. No subtlety here. The performance on Thursday (July 18) will be relayed live on BP Big Screens. For venues visit www.roh.org.uk/bpbigscreens

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