Reviews

It’s a curious fact about Il trovatore, Verdi’s "magnificent demonstration of unprincipled melodrama," as Joseph Kerman called it, that this 1853 potboiler contains so much dramatically still water. No sooner does the curtain rise than a captain launches into a lengthy, action-stalling account of events that happened years before. And that’s not the only instance of extended exposition in Salvatore Cammarano’s creaky libretto, based on the Antonio Garcia Gutierrez play.

Those of us who saw San Francisco Opera’s production of Puccini’s La Rondine in fall 2007 may think that we know the opera. We don’t. SFO’s Nicolas Joël production, which was reprised at the Metropolitan last season and simultaneously shown in hi-def in many theaters around the world, is not the final word on Puccini’s Johnny-come-lately masterpiece. For that we must turn to the scholarship of Marta Domingo, and Decca’s newly released DVD of her radically revised version of La Rondine for Washington National Opera.

For those of us who love opera, the Merola Grand Finale is like a decisive first date. Some singers who parade their stuff before us may have the looks, the glamour, the ease, and the savoir faire for an enjoyable outing.