LSU Opera presented its first production of the year, “La Rondine,” Friday in the Union Theater. The production featured the talents of graduate and undergraduate students alike in various singing and orchestral roles.
“La Rondine” is the story of Magda, the mistress of Rambaldo during 1920s Paris who falls in love with Ruggero, but realizes she can never stay with him because of her sordid past. Her maid, Lisette and the poet Prunier, have a love-hate relationship that serves as comic relief for the audience.
Prunier reads Magda’s palm and tells her she is like “la rondine” (the swallow), “eager to migrate toward the sun and love” in two paths, suffering or love. Magda initially chooses destiny and love, but ultimately chooses suffering.
Kimberly Roberts played Magda, the ever-suffering mistress. Her towering presence drew attention to her right away and at times her intimidating persona and voice made interaction with the other cast members awkward.
But several of her passionate duets with Ruggero were quite moving and well done.
Chauncey Packer (Ruggero) was wonderfully believable as a young, naïve lover. His vocal and emotional range in acting was nothing short of brilliant. His presence and performance added a level of seriousness to the tragedy that might have been overlooked with the dancing and costuming.
Lisette Oropesa (Lisette) and Joseph Haughton (Prunier) almost stole the show with their comedic banter.
Haughton epitomized the sarcastic nature of the literary world in his character and his condescending affinity and interaction with Lisette seemed genuine.
Lisette, the only undergraduate lead, demonstrated solid potential with excellent vocals and acting ability.
The LSU Opera Ensemble performed as a chorus for an animated scene at a Parisian nightclub. The singing and dancing was masterfully choreographed with several things going on at once. The use of lighting and color in the costumes and flowers also added an element of fun to the scene.
None of this would have been possible without the orchestra’s excellent performance. Their beautiful presentation of Puccini’s music ebbed and surged with the simultaneous emotions of the actors.
The sets, on loan from the Des Moines Metropolitan Opera, were beautifully painted and constructed scenery that added believability to the production. The costumes were well done, with the exception of Prunier’s final costume in which he wore a pink long-sleeved button down and khaki pants. Even if this was an accurate costume, it did not match the other cast members’ flapper attire. The use of hats, gloves and flapper dresses created an excellent overall ambience of the 1920s.
Supertitles were a definite necessity for the majority of the audience. Not having to depend on the program notes for clarification kept the audience engaged in the action, which is a benefit to the actors.
Unfortunately, “La Rondine’s” quasi-tragic ending may not resonate with today’s more liberal society. Having to leave a loved one because of a shameful past is an obstacle easily overcome today, but when the opera was written, being a courtesan was one of the most shameful professions a woman could have.
With movies such as “Moulin Rouge” recently appealing to younger demographics, the tragic plot and circumstances of “La Rondine” is understandable and bask in all its glory as a classic work to be appreciated for years to come.