Puccini called his work “La Rondine” a “commedia lirica,” effectively COMIC opera, but I consider it a TRAGEDY that this work isn’t performed more in the opera house.

“La Rondine” comprises some of the most exquisite, emotive music the maestro ever penned. Alas, devoid of the dramatic impact and impetus of his more famous, regularly performed works, it is scarcely deemed worthy of staging by impresarios, given its lightweight theme: a doomed romance with no histrionic turn of events or tragic deaths.

Maestro Sir Antonio Pappano gave no thoughts to such trivial matters as he took to the podium at the Barbican in London however, where he commanded the London Symphony Orchestra (LSO) and a cast of singers in a concert version of the work.

Mainly obscured, as he invariably was in the opera house pit, it was a joy to see him, literally, under the spotlight and in full view. It is indeed a sight to behold, watching him at work, an elite marionettist pulling ALL the strings of his players, gesturing here, pointing there, driving his charges, dancing, gesticulating, prancing, at times so animated that I feared he would lose his footing and fall from his small, confined podium. That he is a musical genius is inarguable. The passion for what he does emanates from his very being, an almost tangible aura surrounding his enthusiastic, vibrant form.

The LSO itself, led by Pappano since September of this year, were quite majestic; again, the experience enhanced somewhat by virtue of being on full view, turning out Puccini’s score with exquisite care and attention.

Whether or not the lack of any requirement to concentrate on staging positions or real direction served to enhance or focus the singing performance of the artists, I can not say, except to state that this proved to be a euphonious delight, vocally.

Spectacular Singing

Nadine Sierra was penned in to perform the role of Magda, but she is in recovery from a medical procedure. Instead, Bolivian-Albanian soprano Carolina López Moreno  performed the role of Magda and positively shone here as the Parisian courtesan. She may have been a stand-in, but she had no need to refer to the score, singing with glorious aplomb. She possesses a shimmering tone, often voluminous, with a radiant, top. She delivered an exquisite “Ore dolci e divine” and her signature aria “Chi il Bel Sogno di Doretta?” was sublime, receiving much deserved applause.

Her chief admirer, Ruggero, was performed by the renowned American tenor Michael Fabiano who cut a rather studious, serious first impression with his bespectacled form. Vocally, seemingly hesitant in the early stages with his “Parigi! È la città dei desideri,” he soon blossomed to produce a fine and very sweet accompaniment in “Nella dolce carezza della danza” before producing a most sudden, unexpected and ardently pressed kiss that appeared to even take Carolina by surprise!

His powerful line and silvery top came into further prominence in the “Bevo al tuo fresco sorriso” quartet where his piercing tone cut through both the orchestration and eager chorus. He impressed throughout the evening, delivering a contemplative “Dimmi che vuoi seguirmi” which managed to avoid the usual, overly saccharine sentimentality. His “Ma come puoi lasciarmi se mi struggo in pianto” where he begs Magda not to leave him was genuinely moving and, for me, was one of the key highlights of the evening.

By contrast, the other lovebirds in the equation, supercilious poet Prunier and his secret on/off lover Lisette, maid to Magda, performed by American tenor Paul Appleby and Italian soprano Serena Gamberoni respectively, ham it up for laughs. Appleby has a fine, shiny bright tenor instrument with which he impresses throughout the whole first act. In fact, until Ruggero makes his entrance later in Act one, he holds the pivotal role as the lead tenor. He sets the stage and to a degree, the characters on it. His “Forse, come la rondine” was especially warm and enchanting, but his triumphs lay in his melodramatic yet witty retorts, along with the comedic squabbles with his girlfriend Lisette.

Gamberoni has a strong, expressive soprano and combined with her jocoseness, probably epitomized to perfection what Puccini meant by “commedia lirica”. Whether entering or exiting the stage, she did so with comical gusto.

More Performance Highlights

British baritone Ashley Riches takes on the role of Rambaldo, Magda’s wealthy ‘protector’. Cutting a very tall figure, he is suitably austere and constraining and sings his lines with rich, dark resonance.
Sarah Dufresne, Angela Schisano and Marvic Monreal are the essential party girls who give the whole show the requisite, essential sparkle, beauties for the eyes as well as the ears. I have frequently pondered why; after having seen her excel on a number of occasions now, Canadian soprano and former Jette Parker Alumna Sarah Dufresne has not been contracted to perform more substantial roles in the house. She has a voice of pure crystal, exquisitely polished, clarion and attention grabbing and I am always left wishing I could hear more of her.

The London Symphony Orchestra chorus made invaluable contributions here, not just with their delightfully engaging swaying during certain passages, but especially during the final passages of the “Bevo al tuo fresco sorriso” where the sheer wall of sound produced, quite literally, took one’s breath away. Possibly not surprising, given that their numbers were close to NINETY strong!

Whoever labelled “La Rondine” a “poor man’s ‘Traviata’” never lived, and certainly never loved. For what makes this underplayed mini-masterpiece so special is, frustratingly, the very reasons it is seldom staged. It is devoid of all the overly-melodramatic, theatrical murders, suicides and completely improbable tales of woe that are the hallmarks of most operas. Yet in its uncomplicated, simple story of near-tangible heartbreak, it is all the more potent for it. It is genuine. Real. TRUE verismo.
It’s NOT a “poor man’s Traviata.” It’s pure, unbridled richness for everyone.

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The orchestra said, “Nadine Sierra has had a recent medical procedure, the recovery from which is taking longer than anticipated. She has therefore had to withdraw from the LSO’s performances of ‘La Rondine’ on 10 and 12 December. The role of Magda will now be sung by Carolina López Moreno.”

Moreno has performed at the Puccini Festival Torre del Lago, Carnegie Hall, the Metropolitan Club, the Berliner Philharmonie, the Jugendstil-Festhalle Landau, and Cambridge University in England, among others. She has performed the works of Offenbach, Verdi, Mascagni, Leoncavallo, Mercadante, Poulenc, Puccini, and Nino Rota.

Moreno is set to join a cast that includes Serena Gamberoni, Michael Fabiano, Paul Appleby, and Ashley Riches. Sir Antonio Pappano conducts the London Symphony Orchestra.

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The Best Opera Recording nominees are “Adams: Girls Of The Golden West” featuring John Adams, Paul Appleby, Julia Bullock, Hye Jung Lee, Daniela Mack, Elliot Madore, Ryan McKinny, and Davóne Tines, Dmitriy Lipay, Los Angeles Philharmonic, and Los Angeles Master Chorale, “Catán: Florencia En El Amazonas” featuring Yannick Nézet-Séguin, Mario Chang, Michael Chioldi, Greer Grimsley, Nancy Fabiola Herrera, Mattia Olivieri, Ailyn Pérez, Gabriella Reyes, David Frost, The Metropolitan Opera Orchestra, The Metropolitan Opera Chorus, and “Moravec: The Shining” featuring Gerard Schwarz, conductor; Tristan Hallett, Kelly Kaduce & Edward Parks, Blanton Alspaugh, Kansas City Symphony, and Lyric Opera Of Kansas City Chorus.

Also in the category are “Puts: The Hours” with Yannick Nézet-Séguin, Joyce DiDonato, Renée Fleming & Kelli O’Hara; David Frost, Metropolitan Opera Orchestra, and Metropolitan Opera Chorus and “Saariaho: Adriana Mater” featuring Esa-Pekka Salonen, Fleur Barron, Axelle Fanyo, Nicholas Phan & Christopher Purves; Jason O’Connell, San Francisco Symphony, San Francisco Symphony Chorus, and Timo Kurkikangas.

Best Choral Performance albums nominated were “Clear Voices In The Dark” conducted by Matthew Guard, “A Dream So Bright: Choral Music Of Jake Runestad” conducted byEric Holtan, “Handel: Israel in Egypt” conducted by Jeannette Sorrell, “Ochre” conducted by Donald Nally and featuring The Crossing, and “Sheehan: Akathist” conducted by Elaine Kelly.

Meanwhile, Joyce Didonato and Maxim Emelyanychev led the Best Classical Solo Vocal Album for their work on “Wagner: Wesendonck Lieder.” They were joined by Karen Slack and Michelle Cann for “Beyond The Years – Unpublished Songs Of Florence Price,” Nicholas Phan and the Palaver Strings for “A Change Is Gonna Come,” and Will Liverman and Jonathan King for “Show Me The Way.” “Newman: Bespoke Songs” featuring Fotina Naumenko and Marika Bournaki rounded out the category.

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PBS Great Performances is set to showcase two special presentations.

First up is “Great Performances – Émigré: A Musical Drama with the NY Phil” on Oct. 25, 2024 at 9 p.m. The showcase is directed by Mary Birnbaum and conducted by Long Yu with music by Aaron Zigman and a libretto by Mark Campbell. Performers include Matthew White, Arnold Livingston Geis, Huiling Zhu, Meigui Zhang, Shenyang, Diana Newman, and Andrew Dwan.

Then on Nov. 1, PBS presents “Land of Gold, a behind-the-scenes look at the making of San Francisco Opera’s production of “Girls of the Golden West.” Directed by Jon Else, the documentary features conversations with Julia Bullock, Davóne Tines, Ryan McKinny, J’Nai Bridges, Paul Appleby, Hye Jung Lee, Eliot Madore, Lorena Feijoo, and Kai Brothers.

This is Else’s third documentary with Adams following “Wonders Are Many: The Making of Doctor Atomic.”

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The Boston Baroque is set to present Music Director Martin Pearlman’s revival of Haydn’s “The Creation.”

It will mark the first concert of Pearlman’s final season with the ensemble.

The performances will be held on Oct. 4 and 5 at the New England Conservatory’s Jordan Hall and GBH’s Calderwood Studio and will feature soprano Hera Hyesang Park, tenor Paul Appleby, and bass-baritone Nicholas Newton.

In 2012, the Boston Baroque became the first American orchestra to record with Linn Records and the ensemble recorded Haydn’s masterwork. In a a statement Pearlman said, “I’m looking forward to revisiting Haydn’s brilliant oratorio. It was our first CD recording with Linn and, I think, one of our best.”

This season the Boston Baroque is also set to perform Handel’s Messiah and a New Year’s Celebration, among many other concerts.

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So without further ado here are OperaWire’s most anticipated productions of the 2024-25 season.

Ainadamar 

As listed in the 10 operas to see this fall, the Osvaldo Golijov is one of those rare experiences you cannot miss.

For the second year in a row (and the first time in history that this has happened), the Metropolitan Opera will present an opera in Spanish. Following last year’s “Florencia en el Amazonas,” Osvaldo Golijov’s tango opera will make its Met premiere. Miguel Harth-Bedoya makes his Met debut conducting a new production by Deborah Colker.  OperaWire raved about the production noting it was “effective.”

The all-star cast will include Angel Blue, Gabriella Reyes, Elena Villalón, Daniela Mack, and Alfredo Tejada.

Antony and Cleopatra

John Adams is back at the Met after the composer’s “El Niño” premiered in the 2023-24 season.

The new work which is an adaptation of Shakespeare’s drama will have its Met premiere starring Julia Bullock as Cleopatra and Gerald Finley as Antony. When the opera first premiered at the San Francisco Opera, OperaWire raved about Finley’s work stating, “Gerald Finley Shine in John Adams’ Wonderful Work”

The production, which first premiered at the San Francisco Opera, and Liceu Opera Barcelona, will be directed by Elkhanah Pulitzer. Tenor Paul Appleby and mezzo-soprano Elizabeth DeShong round out the cast.

Les Contes d’Hoffmann

Offenbach’s work is one of the most important works in the operatic canon and is often performed by the world’s greatest artists. This year the Met is getting Benjamin Bernheim, who closed the Olympic games in Paris and has become the world’s most prominent Hoffmann interpreter having performed the role in Paris, Salzburg, and Hamburg, among many others.

Alongside the tenor, the Met has assembled an extraordinary cast including Christian Van Horn, Pretty Yende, Erin Morley, Clémentine Margaine, Aaron Blake, and Vasilisa Berzhanskaya. Marco Armiliato conducts the production by Bartlett Sher.

Regarding Bernheim and Van Horn’s interpretations of the work OperaWire has said, “Benjamin Bernheim & Christian Van Horn Reign Supreme in Hoffmann.”

Die Frau ohne Schatten

The Met is bringing back perhaps one of the company’s greatest productions by Herbert Wernicke. Last seen in 2013, the production has been hailed for its “balance between delicacy of detail and grandeur of breadth.”

The Strauss opera, which is rarely heard at the Met, will star Elza van den Heever as the Empress, Lise Lindstrom as the Dyer’s Wife, Nina Stemme as the Nurse, Michael Volle as Barak, Russell Thomas as the Emperor, and bass-baritone Ryan Speedo Green as the Spirit Messenger.

Met Music Director Yannick Nézet-Séguin takes the podium in an unmissable Strauss work.

The Queen of Spades

One of the world’s greatest sopranos, Sonya Yoncheva, returns to the Met. After having performed Tatiana and Iolanta to great acclaim, the Bulgarian soprano makes her role debut as Lisa, one of the great dramatic roles in the Russian repertoire.

The soprano will be joined by a cast sung by tenor Brian Jagde, baritone Igor Golovatenko, mezzo-soprano Violeta Urmana, and baritone Alexey Markov.

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This week audiences get to hear world premiere pieces, two complete operas, and a debut album by one of the most interesting ensembles today.

Don Giovanni

Mozart’s “Don Giovanni” recorded in November 2023 at the Royal Opera of Versailles features Robert Gleadow and is conducted by Gaétan Jarry. Marshall Pynkoski directs the production which also stars Arianna Venditelli, Riccardo Novaro, Florie Valiquette, Enguerrand de Hys, Éléonore Pancrazi, Jean-Gabriel Saint-Martin, and Nicolas Certenais.

Saul

Händel’s work is released by Opus Arte from the Glyndebourne Festival Opera. The production stars Christopher Purves, Iestyn Davies, Lucy Crowe, Sophie Bevan, Paul Appleby, Benjamin Hulett, and John Graham-Hall. The Glyndebourne Chorus and Orchestra of the Age of Enlightenment are conducted by Ivor Bolton and the production is directed by Barrie Kosky.

AD MANUS

The Fourth Wall Ensemble releases its debut album “AD MANUS.” Led by award-winning conductor and Fourth Wall Ensemble’s Artistic and Creative Director, Christopher Allen, the album features the world premiere of “Painful Joy” by five-time Emmy Award-winning “House of Cards” composer Jeff Beal. 

A Dream So Bright

True Concord Voices & Orchestra joins forces with conductor Eric Holtan and Jeffrey Biegel for an album that features two world premiere recordings of works by Jake Runestad.

Émigrés & Exiles in Hollywood

Ensemble for These Times releases its fifth album featuring soprano Nanette McGuinness, cellist Abigail Monroe, and pianist Margaret Halbig. The album showcases music by émigré composers who fled World War II for Los Angeles and became instrumental in founding today’s famous “Hollywood” sound.

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American composer Harold Meltzer passed away at 58, due to complications from a stroke.

Meltzer was born in Brooklyn, New York in 1966, and grew up in Long Island, where he studied piano and had instruction in music theory from Morton Estrin. He studied composition, piano, and bassoon at Amherst College, where he graduated summa cum laude in 1988. Meltzer went on to earn degrees from King’s College, Cambridge (1990), Columbia University School of Law (1992), and Yale University School of Music (1997) and (2000).

His vocal works include “Bride of the Island,” a song cycle to poems of Ted Hughes commissioned by the Minnesota Commissioning Club for tenor Paul Appleby and pianist Natalia Katyukova, Variations on a Summer Day,” a song cycle to the Wallace Stevens poem for mezzo-soprano and nine instruments, “from a book of beautiful monsters,” for soprano, mandolin, and guitar, “Pacific Beach for SSATBB voices,” and many more. He received commissions from the Library of Congress, Brooklyn Art Song Society, and NewMusicUSA, among others. His works have been recorded on Albany, Naxos, and Bridge.

Meltzer was a Pulitzer Prize Finalist in 2009 for his sextet “Brion.” He was awarded the Rome Prize, the Barlow Prize, a Guggenheim Fellowship, and both the Arts and Letters Award in Music and the Charles Ives Fellowship from the American Academy of Arts and Letters. Meltzer founded and co-directed the new music ensemble Sequitur for fifteen years. He taught at Amherst College, Vassar College, and at the Setnor School of Music at Syracuse University.

Meltzer is survived by his wife and two children.

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Étude Arts has announced that conductor Jordan de Souza has joined its artist roster for general management.

Last year, the Canadian maestro was appointed to be the General Music Director of the Theater Dortmund and the Chief Conductor of the Dortmund Philharmoniker for five years.

“A varied and dynamic schedule with many of the world’s great opera houses, symphony orchestras, and festivals reflect Jordan de Souza’s standing as one of the most sought-after conductors of his generation,” says Étude Arts’ official website about the conductor. ” The artist’s energy, passion, charisma, and creativity are impactful to musicians and audiences alike and he is a thoughtful educator of new audiences opening doors welcomingly to the world of Classical Music.”

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Haydn’s “Die Schöpfung” is set to start Hera Hyesang Park, Paul Appleby, and Nicholas Newton.

Performance Dates: Oct. 4 & 5, 2024

Handel’s “Messiah” will include Maya Kherani, Avery Amereau, Omar Najmi, and Jesse Blumberg,

Performance Dates: Dec 7 & 8, 2024

Erin Morley performs a program of Beethoven and Mozart.

Performance Dates: March 21 & 22, 2025

Megan Moore takes on the title role of Handel’s “Ariodante” with Amanda Forsythe and Ann McMahon Quintero.

Performance Dates: April 24, 26 & 27, 2025

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