La rondine in press reviews!

"Puccini did not want to create an operetta. But director de Beer is committed to the genre. And that's a good thing. With speed and humor, she tells the heartache story of the Parisian salonière, the swallow Magda, who - like Dumas' 'Lady of the Camellias' - collects rich people, but falls in love." (Kronen Zeitung, April 12, 2024)

"Worth seeing, hearing and thinking about." (Falter, April 17, 2024)

"Matilda Sterby as Magda, who vacillates between love and an easy life in luxury, dominates the musical action with her radiant soprano." (Kleine Zeitung, April 12, 2024)

"Conductor Alexander Joel has (...) added several sequences to the opera at the end which, instead of Magda's suffering departure, allow us to embark on a tour de force through the image of women in Puccini's operas, at the end of which an emancipated woman strides towards her future. A meta-level with a message and humor at the same time, which does the work a lot of good. What also suits the 'Rondine' is Joel's conducting, which brings to life the waltz melodies of the work, but does not venture too far into schmaltz, thus underlining the implicit Viennese character while remaining light-footed." (Salzburger Nachrichten, April 11, 2024)

"Alexander Joel leads orchestra and singers with drive, bright colors, indulges in waltz bliss." (Kronen Zeitung, April 12, 2024)

"Volksopern-favorite Rebecca Nelsen (...) has found a perfect role for herself as the rebellious maid Lisette." (Salzburger Nachrichten, April 11, 2024)

"Nevertheless, 'La rondine' was not a success. This is probably because it is difficult to categorize. And yet the work celebrated a clear success yesterday at the Vienna Volksoper. This is mainly thanks to Lotte de Beer's directorial concept. (...) Even the Metropolitan Opera's bland, glossy production from 2009 pales in comparison to this firework display of good humor. Puccini would have been happy. The audience was too and cheered long and loudly." (Radio Klassik, April 11, 2024)

"The composer was obviously never completely satisfied with the ending of his opera, in the final version it does indeed come somewhat abruptly. And so at the Volksoper, where the ensemble's overall acting and singing performance is convincing, a coda is played at the missing end. Conductor Alexander Joel, who leads an orchestra in top form with a sensuous sound, has put it together from fragments of Puccini's music." (Falter, April 17, 2024)