Opera, in all its forms, requires the wholesale suspension of disbelief. Whether you're watching the 350-pound maiden play the coquette to drive all the boys mad . . .
(Photo stolen from these guys)
or the witnessing the orotund, balding tenor as he sweats like a dock worker . . .
(Photo stolen from these guys)
or even sitting through the whole Luke and Laura thing from "General Hospital," and what was THAT all about?
(Photo stolen from these guys)
. . . we as the opera audience are asked to suspend our disbelief.
And so it was on Saturday morning
when I joined my mom at our local theater for the latest Live in HD
broadcast of the New York Metropolitan Opera. It was the first New
York performance in decades of Giacomo Puccini's La Rondine
(which is pronounced "La RON-dee-nay"). We suspended our disbelief
that this late work of the master Puccini could be almost unknown. We
suspended our disbelief that in the nightclub scene (Act II) the
singers portraying the students, shopgirls and wanton women were more
likely to be AARP members than Gen-Xers. And we suspended our
disbelief that, at a time when the New York Metropolitan Opera is more
vibrant than ever, embracing advanced technology to reach new
audiences, and staging immensely talented performers (who also happen
to be svelte and attractive) -- at this point in time, our local NPR
affiliate, KCHO, has chosen to drop opera from its weekly line-up. Oh,
the shame.
But enough soap-boxing for the moment . . . you came here for a story, right?
(Photo stolen from these guys)
The story
is pretty much the same story as told by that awful, awful song "Never
Been to Me" from 1977, and if you have the stomach, here's a link.
(I recommend laughing loudly as you watch in case there's anyone in
your house who might think you enjoy that sort of thing.) In a
nutshell, the heroine Magda is a kept woman who lives the high life in
Paris, but does not love her wealthy banker lover Rambaldo. While she
is comfortable and well entertained, Magda doesn't realize how
unfulfilled her empty, loveless existence is, until she is reminded of
a brief flirtation she had once, long ago, while she was still young
and innocent. On a lark one spring evening Magda dresses in a simple
and girlish dress and sneaks out to that same nightclub of her lost
encounter, Bullier's.
Up until this point the opera has been surprisingly
straightforward, with not too much monkey business. And, in fact,
compared to most librettos, this one is rather unvarnished, even dull.
Still, missed connections and a lot of people turning a blind eye
allows Magda to pretend to be a young shopgirl named Paulette, and she
almost gets away with it.
Fake Paulette meets a charming young student named Ruggero, and
within minutes they are sucking face in public. Sounds pretty much
like the nightclubs I went to in college, except that there didn't
appear to be any beer bongs on stage. Unrelated: I successfully curbed my
urge to yell, "GET A ROOM!"
This story takes place in 1920s Paris and the Riviera, and every vignette looks like a
slightly modern Toulouse Lautrec painting, lively and lush.
(Painting stolen from these guys)
(Painting stolen from freeparking on Flickr)
(Painting stolen from maggiedalianmaggie7 on Flickr)
On the stage, as in life, people don't usually get what they deserve. While nobody dies in La Rondine, and Puccini opts instead for a quiet, tragic defeat of the two lovers, the story is still terribly sad in the end.
La Rondine's stars are Italian tenor Roberto Alagna (a good twenty
years older than his character Ruggero, but this is opera, so never
mind),
(Photo stolen from these guys)
and his real-life wife, Romanian soprano Angela Gheorghiu, who is -- gulp -- my age.
(Photo stolen from the Met)
Their voices were beautiful together in the mid-ranges, but when they
aimed their voices for the rafters Laurie mentally checked out a bit --
just a bit. The maid Lisette was played by an adorable young woman
named, coincidentally, Lisette. She was a joy.
If you don't
like a lot of kissing then you may want to skip this one, as Ruggero
was a lusty bugger, and I think he may have gotten to second base with
his Fake Paulette right there in front of God and everybody.
And here in the cultural jewel of the North Valley, as we would have
you believe, it's getting harder instead of easier to hear live opera.
Oh, the hand-wringing over lack of art and music in schools! Oh the
finger-pointing in general. And yet, while in 2008 our local NPR
station raised far more money than ever before, it chose to eliminate
opera from the airwaves. Oh, the protesting.
While I understand that a public radio station is a business, whether
it's a not-for-profit business or not, and KCHO can't air the Saturday
Metropolitan Opera broadcast if no one wants to hear it, I still cry bullpucky!
'scuse my vulgarity. I accepted it, with sadness, when KCHO dropped
the opera this year, because they said they needed to establish
Saturday programming with a broad appeal. Bullpucky -- she did it again! I've been trying to listen on Saturdays, and the awful stuff they've replaced La Rondine, et al
with is mostly unlistenable. I just can't see throngs of people lining
up to hear third-rate folk and world music, which I like, in theory,
but which has really stunk every time I've tuned in, and jeebus, don't
we have ENOUGH folk music on Sundays?
So much for our claim to culture here in the North Valley. I can no longer suspend my disbelief.
If you have any interest in my previous opera reviews, which were much more fun and probably even less informed than this one, check out these links:
La Fille du Régiment
Juan Diego Flórez
Carmen
Il Barbiere di Siviglia
I kid, I kid, because this truly was a wonderful experience, and I highly recommend going to see the command performance of La Rondine on
January 21st (tickets can be purchased on-line or at your local theater).
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