Gem 'La Rondine' deserves better

"LA RONDINE," UTAH OPERA, Capitol Theatre; additional performances Wednesday and Friday, 7:30 p.m., and Sunday, 2 p.m. (355-2787).

Giacomo Puccini's "La Rondine" has yet to find a permanent place in the world's opera houses. It's as little known as his early "Le Villi" and "Edgar," yet it possesses one of his most sparkling scores.

"La Rondine" is also free from the melodrama of its predecessors "Tosca" and "Madama Butterfly," and from the weightiness of his final opera "Turandot," with a refreshing lightness that is atypical for its composer (and to which he returned once more in his comedy "Gianni Schicchi").

Utah Opera is to be commended for bringing "La Rondine" to Salt Lake City and expanding its repertoire of standard works (with this as well as Leos Janacek's "Jenufa" and Benjamin Britten's "A Midsummer Night's Dream" last season).

"La Rondine" is the story of Magda de Civry, a courtesan who is kept in luxurious surroundings in Paris by her older lover Rambaldo. But when she meets the young Ruggero, she falls in love with him, and he with her, and they leave Paris for the Riviera.

Ruggero wants to marry Magda and tells her that his mother approves of his marrying but only on condition that his future wife be virtuous. Magda tells Ruggero she cannot fulfill his mother's wishes because of her past life and, declaring her undying love for Ruggero, leaves their home and goes back to Paris and Rambaldo.

Returning to Utah Opera to sing Magda is soprano Robin Follman. She learned the part specifically for Utah, but as she showed on opening night, she isn't quite up to the challenge of the role.

While Follman did improve in the second and third acts, she faltered in Act I and was consistently flat on her high notes. And in the opera's only well-known aria, "Chi il bel sogno di Doretta," she struggled to get through it.

Nor was Follman's acting ability any better. Hers was a one-dimensional character, who failed to arouse any sympathy for her leaving the man she loves at the end of Act III.

Tenor Gerard Powers as Ruggero was one of the two singers who helped save the opening-night performance from disaster. He sang his part magnificently and was credible as the young man from the country who comes to Paris for the first time and finds love.

But unfortunately there was no chemistry between Follman and Powers. Their love scenes in the second and third acts rang hollow and felt trite.