Title: Giacomo Puccini
Content:  Puccini completed the score of La rondine, to a libretto by Giuseppe Adami in 1916 after two years of work, and it was premiered at the Grand Théâtre de Monte Carlo on 27 March 1917. The opera had been originally commissioned by Vienna's Carltheater; however, the outbreak of World War I prevented the premiere from being given there. Moreover, the firm of Ricordi had declined the score of the opera – Giulio Ricordi's son Tito was then in charge and he described the opera as "bad Lehár". It was taken up by their rival, Lorenzo Sonzogno, who arranged the first performance in neutral Monaco. The composer continued to work at revising this, the least known of his mature operas, until his death. La rondine was initially conceived as an operetta, but Puccini eliminated spoken dialogue, rendering the work closer in form to an opera. A modern reviewer described La rondine as "a continuous fabric of lilting waltz tunes, catchy pop-styled melodies, and nostalgic love music," while characterizing the plot as recycling characters and incidents from works like 'La traviata' and 'Die Fledermaus'.
Title: La rondine
Content:  La rondine (The Swallow) is an opera in three acts by Giacomo Puccini to an Italian libretto by Giuseppe Adami, based on a libretto by Alfred Maria Willner and Heinz Reichert. It was first performed at the Grand Théâtre de Monte Carlo (or the Théâtre du Casino) in Monte Carlo on 27 March 1917.
Title: La rondine
Content:  which had to be restored based on the surviving vocal-piano arrangements. The orchestration of the third version was finally completed in authentic Puccinian style by the Italian composer Lorenzo Ferrero at the request of Teatro Regio di Torino and subsequently performed there on 22 March 1994. The American premiere of La rondine took place at the Metropolitan Opera in New York City on March 10, 1928; Lucrezia Bori sang the role of Magda and Beniamino Gigli appeared as Ruggero. As part of a 1958 celebration marking the centenary of Puccini's birth, the Teatro di San Carlo at Naples, Italy, staged a revival of La rondine, at that time one of Puccini's least performed operas. The revival was well received, with audiences and critics deeming it a success.
Title: La rondine
Content:  work to his editor Tito Ricordi, who declined to buy it, dismissing it as "Bad Lehár"; thus Ricordi's rival, Lorenzo Sonzogno (publishers), obtained the right to give the first performance outside Austria-Hungary and moved the premiere to Monégasque neutral territory. At the premiere in Monte Carlo in 1917 the initial reception by the public and press was warm. However, despite the artistic value of the score, La rondine has been one of Puccini's less successful works; "In box office terms, [it] was the poor cousin to the other great hits." There is no established final version of it, Puccini being dissatisfied, as often, with the result of his work; he revised it many times to the point of making three versions (1917, 1920, 1921), with two completely different endings, but died before clearly deciding on a final version.
Title: La rondine
Content:  In autumn 1913, the directors of Vienna's Carltheater commissioned Puccini to compose a Viennese operetta. After confirming that it could take the form of a comic opera with no spoken dialogue in the style of Der Rosenkavalier, "only more entertaining and more organic," he agreed. The work proceeded for two years, sometimes intensely, sometimes with great difficulty, and in spring 1916 the opera was finished. The originally intended Viennese première was impeded by the outbreak of World War I and the entrance of Italy in the Alliance against Austria-Hungary, hence the Opéra de Monte-Carlo was chosen as the location to present it, with Gilda dalla Rizza and Tito Schipa in the leading roles. A feature of the music is Puccini's use of modern dance rhythms, such as the tango, to denote the various characters. In Italy, Puccini offered 
Title: Rondò
Content:  using) a rondò for Susanna's garden aria in Le nozze di Figaro. Two later Mozart operas with rondòs are Don Giovanni and Così fan tutte (Fiordiligi’s “Per pietà, ben mio, perdona”). For his last opera, La clemenza di Tito, Mozart wrote a pair of rondòs: Vitellia’s "Non più di fiori" and Sesto’s "Deh per questo istante". Other notable composers of the period to compose rondòs include Giuseppe Sarti (Giulio Sabino, 1781) and Domenico Cimarosa, whose Olimpiade (1784) includes two long rondòs for the prima donna, Aristea, and the primo uomo, Megacle. The longer of the two goes to the hero in the penultimate scene of the opera. Joseph Haydn employed the form in 1784 for the aria "Dei pietosi" in Armida.
Title: La rondine
Content:  The creator of the role of Lisette, Ines Maria Ferraris, made the earliest known recording of the aria "Chi il bel sogno di Doretta" in 1928 for the Odeon label.
Title: Rondine al nido
Content:  Rondine al nido is a romance and one of the best known works of the Italian composer Vincenzo de Crescenzo, whose music was in the repertoire of Beniamino Gigli, Tito Schipa, Giuseppe Di Stefano, Richard Tucker, Luciano Pavarotti, Luigi Infantino, Ramón Vargas, Robert Dean Smith, Francesco Albanese, among many others. Written by de Crescenzo in the early 20th century (1926), it deals with lost love. While written and performed as a Neapolitan song, but with lyrics in Italian, it is more like an aria of the late Romantic period, demanding of the singer high intensity, high notes, and excellent breath control. It begins calmly and lightly, and then it becomes a passionate outburst. The second stanza repeats this scheme. The song was sung by tenor Agostino Castagnola as The Doctor (EMH) portrayed by Robert Picardo in the 13th episode, Virtuoso, of the sixth season of the science fiction television series Star Trek: Voyager. The episode was first aired on 26 January 2000 in the United States. The song is performed in Las Vegas at the Bellagio's fountain, which dances to Luciano Pavarotti's version of the song.
Title: Piero de Palma
Content: Puccini - La Rondine - Anna Moffo (Magda), Daniele Barioni (Ruggero), Graziella Sciutti (Lisette), Piero de Palma (Prunier), Mario Sereni (Rambaldo) - RCA Italiana Opera Chorus and Orchestra, Francesco Molinari-Pradelli - RCA Victor (1966) 
Title: Rondeau fantastique sur un thème espagnol
Content:  Rondeau fantastique sur un thème espagnol: "El Contrabandista" ("Fantastic Rondo on the Spanish Theme The Smuggler"), S. 252, is a classical musical composition for piano solo by Franz Liszt, written in 1836, and published in 1837 as Liszt's Opus 5 No. 3. It is based on a Spanish song popular at that time. It lasts approximately 8–9 minutes according to the high tempo Liszt assigned, though most pianists play it slower (10–12 minutes) due to its incredible difficulty.

Question: Who was the composer of La rondine?
Answer: Giacomo Puccini.
Puccini.
Giacomo Antonio Domenico Michele Secondo Maria Puccini.