The Atlanta Opera’s “La bohème” triumphs in sold-out opening night performance

Mark Gresham | 23 JAN 2024

Over the course of its 45-year history, The Atlanta Opera has mounted Puccini’s La bohème at least seven times. It’s a perennial favorite that draws audiences. The show was sold out for this past Saturday’s opening night at the Cobb Energy Performing Arts Centre, with an enthusiastic audience packing the Centre’s 2750-seat John A. Williams Theatre.

This was a renewal of the highly successful 2015 production directed by the company’s general and artistic director Tomer Zvulun, with scenic and projection designs by Erhard Rom. This time, while directing the overall production, Zvulun placed the staging direction in the capable hands of Gregory Luis Boyle instead of directing the action himself. Conductor Jonathan Brandani led the music from the helm of the adept Atlanta Opera Orchestra.

It is not the first time Zvulun has worked with Rom’s sets for La Bohème, which have evolved over time from an original design for the thrust stage of the Opera Theatre of Saint Louis through the Seattle Opera’s critically acclaimed proscenium stage production in 2013 before bringing it to Atlanta in 2015. Their creative collaboration give thiss La bohème its particular signature, bringing the story out of the 1830s and into Puccini’s own era, the Paris of the 1890s, using historical photography from the city’s Belle Époque as its striking atmospheric visual inspiration.

The shift in setting is not merely cosmetic; it holds cultural significance. This period, marked by optimism and affluence, contrasts significantly with the harsh realities of the 1830s, a time of regional peace and prosperity, science, innovation, and the arts, that does not anticipate the coming tumultuous First World War of the 20th century. It was a time and environment in which the popular image of a poor artist became entirely, perhaps irretrievably, romanticized, offering an ideal backdrop for the opera’s depiction of six young friends and the nuances of their passions, comedies, and tragedies amid the city’s vibrant culture.

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Tenor Long Long and soprano Gabriella Reyes shine in the lead romantic roles as the poet Rodolfo and the vulnerable yet resilient Mimì. Baritone Thomas Glass (substituting for the program-listed Zachary Nelson in this opening performance) and Madison Leonard provide the balanced counterpoint couple portraying the temperamental painter Marcello and the flamboyant Musetta. Rounding out the artistic circle of friends are Christian Simmons as Colline, the philosopher, and Jongwan Han as Schaunard, the musician. The excellent ensemble of six skilled players forged a sympathetic camaraderie of friends throughout. Notable supporting roles include Philip Cokorinos in the dual roles of Benoit, their landlord, and Alcindoro and Kameron Lopreore as toy vendor Parpignol.

Highlights included Long and Reyes in the latter part of Act I on the sequence of Rudolfo’s aria, “Che gelida manina” (“What a cold little hand”) and Mimì’s aria, “Sì, mi chiamano Mimì” (“Yes, they call me Mimì”), followed by their duet “O soave fanciulla” (“Oh lovely girl”) where they realize that they have fallen in love; they decide to meet the others to the Café Momus.

Gabriella Reyes and Long Long as Mimi and Rudolfo. (credit: Raftermen)

The second act follows with only a pause to change sets behind the front screen on which is projected a montage of city street photos, bridging the time and preparing the viewer for the bustling activity of Act II, which transforms from overarching realism into self-conscious theatricality, notably in Madison Leonard’s captivating “Quando men vo” (“When I go along”) aka “Musetta’s Waltz,” to which lighting designer Robert Wierzel’s skillful illumination adds a touch of comedic playfulness, giving Musetta the literal spotlight as she tries to regain the attention of the hot-headed artist Marcello (Thomas Glass).

Madison Leonard as Musetta. (credit: Raftermen)

Since Act II is the only one that features the larger company of chorus, children, stilt walkers, and supernumeraries, as well as final onstage moments, Cokorinos and Lopreore in their supporting roles, they took their bows, receiving ovations for their excellent work after Act’s end, before the first intermission. (The six principals, the conductor, and creatives would take theirs at the opera’s end.)

As is a hallmark of Zvulun’s casting, this production presented a strong and balanced ensemble of performers, which suits this opera especially well. Those planning to attend one of the remaining three performances of this La bohème will find the experience thoroughly engaging. ■

The final three performances of The Atlanta Opera’s production of La bohèm take place at the Cobb Energy Performing Arts Centre tonight at 7:30 p.m., Friday evening at 8 p.m. and Sunday afternoon at 3 p.m.

EXTERNAL LINKS:

• The Atlanta Opera: atlantaopera.org

About the author:

Mark Gresham is publisher and principal writer of EarRelevant. He began writing as a music journalist over 30 years ago, but has been a composer of music much longer than that. He was the winner of an ASCAP/Deems Taylor Award for music journalism in 2003.

Read more by Mark Gresham.

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