La Rondine (2008)
This 2008 version of Puccini's LA RONDINE (The Swallow) features acclaimed conductor Carlo Rizzi and polished theatre-direction from Graham Vick, recorded at the Teatro La Fenice, in Venice.
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You won't be disappointed!
Just perfect...
This story has more twists and turns than a second-rate soap opera.
There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.
La Rondine is not one of my favourite Puccini operas, it does have beautiful music but also a story that does come across as unbelievable. This Teatro La Fenice production is not a terrible production, but it feels dull a lot of the time. For better productions the 2009 Met production and the 1972 television film with Teresa Stratas are your best bets. I even preferred the 1998 Washington production despite the tacky ending. I will start with the good things. The sets are quite nice, and the ladies' costumes are lovely. The video directing and picture quality are good. The dancing in Act 2 is enjoyable. The orchestral playing is lush and nuanced, and there is a lot of refinement in the conducting of Carlo Rizzi. The most consistent principal performance is the Rambaldo of Stefano Antonucci, he has a lovely voice and acts with authority. It is such a shame though that his part is short. Sadly, the dramatic elements and staging never come to life, I was even left cold by the ending which I am usually moved by. The performances apart from Antonucci are uneven. Fiorenza Cedolins improves later on vocally but is squally and un-supported in the first act. She is also very unmotivated as an actress. Not much better is Fernando Portari's Ruggero, who is strained and awkward, and not helped by the embarrassing movements on the floor stage director Graham Vick makes them do. Sandra Pastrana is a decent singer but her Lisette is more stiff than saucy. Emanuelle Giannino is the best actor of the four, but his voice lacks power. Overall, underwhelming but redeemable. 5/10 Bethany Cox