Resisting wordplay is difficult. Mostly, this reviewer can handle not caving in to temptation. Let it be said, therefore, that the Lyric Opera San Diego (LOSD) production of Giacomo Puccini’s only operetta, “La Rondine (The Swallow)” is palatable in all ways, easy to “¦ enjoy “¦ in every sense. Those who love Puccini will hear echoes of his other works throughout.
Though written in Italian (1918), it is sung in Robert Hess’s English translation, making the story more accessible but not necessarily more easily understood word for word, especially in the higher voices.
Tenors ” count ’em, two, and good ones! ” Chad A. Johnson and Enrique Toral do an excellent job with the text, putting over the words and the emotions of the tale. And what glorious sounds they make!
The women, whose voices are an octave higher than the men’s, do not fare as well and require active listening to understand the words. When sung in Italian, even with Supertitles, the vocal quality and sound would be the thing. Nonetheless, I think this type of material should be sung in English, though the audience complaints at intermission are numerous.
Puccini’s tuneful operetta (how could it be otherwise?) is a favorite of many opera lovers, and we are fortunate that LOSD chose to give the piece its San Diego premiere. It is redolent of already mined literary sources that provided libretti ranging from Giuseppe Verdi’s “La Traviata” (1853), to Johann Strauss II’s “Die Fledermaus” (1874) and Franz Lehar’s “Merry Widow” (1905).
The first act takes place in the elegant salon of a Parisian demimonde named Magda (impressive soprano Suzan Hanson). Her wealthy “benefactor” is the considerably older Rambaldo (William Nolan), who seems to love her in his fashion, but does not live with her. Among the party guests is a poet, Prunier (Toral), who remarks that love seems to be in the air and sings a song of his composing, which Magda completes for him. The poet compares Magda to a swallow and predicts that she will find the love for which she still longs.
Voila! Ruggero (the extraordinary Johnson), whose father was a friend of Rambaldo, joins the party. It’s Ruggero’s first trip to Paris and he’s looking for a little nightlife. The smitten Magda, who was masked in Act I, follows him to a supper club (Act II, shades of Maxim’s), where they talk, dance and fall in love. When Rambaldo happens along and insists Magda come home, she refuses, saying she has fallen in love and is leaving him for the younger man.
Act III takes place in an idyllic retreat in the country. Ruggero tells Magda he’s written to his parents for 1) money and 2) permission to marry her. When he rhapsodizes over their unborn, beloved child, she realizes she can never be his wife; she is not good enough or pure enough, especially for motherhood. When the curtain falls, Ruggero is broken-hearted and alone as Magda returns to Paris with Rambaldo, her maid Lisette (soubrette Susan Holsonbake) and Prunier, who loves Lisette.
I wish I could report that LOSD’s chorus contributes as well as the principals and the excellent orchestra led by James Lowe, but on Nov. 9 they seemed to lag as if unprepared, both dramatically and musically. Their costumes (from Stivanello Costume Co.), coordinated by Pam Stompoly, don’t help, though Magda’s Act I party dress and Lisette’s Act II dress, copped from her mistress’ closet ala “Fledermaus,” are super and worthy of all the above operas. LOSD artistic director J. Sherwood Montgomery stages the work.
R. Keith Brumley’s sets, borrowed from Des Moines Metro Opera Inc., are impressive especially as lighted by Matthew Novotny in Acts I and II, but Act III’s pastoral drop is not up to LOSD’s new high standards.
Remaining performances take place at 7:30 p.m. Thursday through Saturday, Nov. 15 to 17, and 2:30 p.m. Sunday, Nov. 18, at Stephen and Mary Birch North Park Theatre, 2891 University Ave., San Diego.
For tickets ($30-$50, children aged 5 to 17 half-price) or information, visit www.lyricoperasandiego.org or www.birchnorthparktheatre.net or call (619) 239-8836.
