A Thanksgiving Wish

I just want to stop and THANK you baby – THANKS for the memory – THANK you for being a friend – I want to THANK you falettin be mice elf agin – THANKS for the time that you’ve given me – You didn’t have to love me like you did but you did but you did, and I THANK you – THANK you girl for teaching me brand new ways to be cruel – No THANKS Omaha THANKS a lot – THANK God I’m a country boy – THANK you India – Wham bam THANK you ma’am! – THANK heaven for little girls – I THANK the Lord for the nighttime – Just be THANKFUL for what you’ve got – THANK you for the love you brought my way – I’m bound to THANK you for it – DANKE Schoen – THANK you for the music

 

Happy Thanksgiving! Michael J. Vaughn

Old Guys Writing Edgy Operas

Prunier (Mason Gates), Lisette (Elena Galvan) Magda (Amanda Kingston) and
Ruggero (Jason Slaydon). All photos by Pat Kirk.

Opera San Jose

Puccini’s La Rondine
November 11, 2017

The latter years of Puccini would serve as an excellent blueprint for maintaining an active mental life in one’s senior citizenry. Much like Verdi before him, the great composer seemed determined to try everything under the sun and continually expand his musical skills. In the long run, his ambitions may actually have damaged his legacy. His California opera, La fanciulla del West, is so difficult to stage that it’s not often produced. The great Chinese spectacle of Turandot appears more frequently, but suffers from an ending that Puccini was unable to complete and no one else was able to resolve.

Lisette (Elena Galvan) and Prunier (Mason Gates).

Directly after Fanciulla, Puccini embarked on La Rondine, which was seen by the composer and his Viennese sponsors as a way to imbue the highly commercial form of operetta with a sense of gravitas. The resulting libretto is so blatantly derivative that it’s sort of amusing to pick out the inspirations. We’ve got a tenor poet, a rousing café scene and an artist who argues endlessly with his girlfriend (La Boheme); a housemaid who dresses as a lady while her mistress dresses as a commoner (Die Fledermaus), and, most prominently, a courtesan who falls in love with a younger man, leaves her sugar daddy, moves with her new lover to the country but breaks it of when she realizes his family will never accept her (Traviata, Traviata, Pretty Woman, Traviata).

The fact that La Rondine is still worth performing is a testament to its creator’s nimble mind and fantastical skills. The score is an elegant gem filled with Puccini’s continuing explorations. It’s through-composed, , an evolving 20^th Century trend that sought greater dramatic reality through the elimination of set pieces. He uses dance rhythms as a tribute to the Viennese tradition (a few waltzes and even a tango), simultaneously using them as leitmotifs for the characters. One can also detect the Oriental tonalities that play a part in all of Puccini’s post-Butterfly works, notably in the palm-reading scene (Eastern mysticism?). There’s even a bit of Donizettian contrapuntalism in the café scene.

Amanda Kingston as Magda.

Opera San Jose polishes these gems to a glittering finish, beginning with Doretta’s Song, the lush, legendary aria that foretells the coming story (the poet Prunier tells of a young lady who literally forsakes a king’s ransom for the love of a young commoner). The aria appears almost immediately, and is known for its climactic top notes, long sustenatos that give a wise soprano the opportunity to shine. As Magda, Amanda Kingston performs the piece with incredible control, working the dynamic line with shimmering, glassine tones. Kingston also has the capacity for some great power, especially when paired with tenor Jason Slayden, playing her lover Ruggero. Puccini invested many of the love scenes with glorious, robust sound, and the two singers take full advantage.

Playing Prunier, tenor Mason Gates exhibits vivid lyricism and (for lack of a more technical term) a distinct sense of swagger. His portrayal is comically perfect, Johnny Depp’s Mad Hatter minus 70 percent madness. Playing the housemaid Lisette, soprano Elena Galvan displays an agile tone and excellent comic skills (notably a pantomime of being pelted by tomatoes at her singing debut). Together, these two have a bickering repartee much like the lighter moments of Boheme’s Marcello and Musetta.

Magda (Amanda Kingston) and Rambaldo (Trevor Neal).

The side dishes are lovely. We get a trio of lesser courtesans, a bit like the female trio in Massenet’s Manon (Katherine Gunnink, Maya Kherani and Teressa Foss), some fine ballet and can-can (choreographed by Michelle Klaers D’Alo), and excellent work in the kinetic café scene from Andrew Whitfield’s chorus. Larry Hancock’s café set gives an open, festive air, thanks to a back screen of wrought-iron frameworks. The French Riviera projection (Kent Dorsey, lighting designer) provides Act III with a slowly oranging sunset to go with the end of the affair. That final farewell featured lush passages in the strings from conductor Christoper Larkin and his orchestra. The ladies' dresses in Act I are amazing, especially Magda's all-white ensemble, which glitters like a snowbank (Elizabeth Poindexter, costume designer).

Through November 26, California Theater, 345 S. First Street, 408/437-4450, operasj.org.

Michael J. Vaughn is the author of twenty novels, including Gabriella’s Voice and Operaville. He regrets that he was unable to mention Veronika Agronov-Dafoe’s onstage accompaniment of Doretta’s Song, but apparently she was disguised as a cigar-smoking man.