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Review: AVA's 'La Bohème' presents a new crop of contenders

Nothing brings tears to opera lovers' eyes more copiously than the story of the consumptive seamstress Mimì and her impoverished poet lover Rodolfo in Puccini's ever-popular La Bohème. The Academy of Vocal Arts has seen more than its fair share of graduates break audience hearts in these roles, and the current production, directed by David Gately in a traditional setting, brought forth the latest candidates.

Rodolfo (Mackenzie Whitney) and Mimì (Marina Costa-Jackson) in Academy of Vocal Arts’ production of Puccini’s La bohème (continues Feb 12 & 14 in Center City; Feb 17 & 19 in Haverford)
Rodolfo (Mackenzie Whitney) and Mimì (Marina Costa-Jackson) in Academy of Vocal Arts’ production of Puccini’s La bohème (continues Feb 12 & 14 in Center City; Feb 17 & 19 in Haverford)Read more

Nothing brings tears to opera lovers' eyes more copiously than the story of the consumptive seamstress Mimì and her impoverished poet lover Rodolfo in Puccini's ever-popular La Bohème. The Academy of Vocal Arts has seen more than its fair share of graduates break audience hearts in these roles, and the current production, directed by David Gately in a traditional setting, brought forth the latest candidates.

As Mimì, soprano Marina Costa-Jackson revealed a large, sumptuous voice, secure throughout its range and with carrying power that might well lead to heavier roles in the Puccini/Verdi canon. From her Act I aria "Mi chiamano Mimì," when she stood facing the audience to sing of her joy in seeing the earliest flowers of spring from her window, she was a riveting presence. An effective actress, as well, the soprano made a dramatic first entrance, fainting dead away on the floor of Rodolfo's garret.

What Costa-Jackson was missing in that crucial scene was a sense of Mimì's delicacy, her vulnerability. Having recovered from her faint, she was a bit too bouncy for a consumptive, and her dynamic range was limited. As the opera progressed, however, her characterization deepened.

Mackenzie Whitney, who sang Rodolfo, has an appealing lyric tenor voice, his upper tones generally free and of lovely quality. Although this role suits him well both vocally and dramatically, Whitney was not always fully audible above the orchestra, especially in duets with Costa-Jackson, when an imbalance in the size of their voices was evident.

Better matched as a couple were soprano Karen Barraza as the tempestuous flirt Musetta and baritone Jared Bybee as her alternately besotted and furious lover, the painter Marcello. Barraza's bright, focused soprano and Bybee's virile baritone soared over the orchestra, and the stage sizzled when they were together. Both showed strong comedic instincts, which contrasted beautifully with their grief as Mimì lay dying.

La Bohème's success is also dependent on the interplay among the four destitute young men trying to earn their keep (with Michael Adams as the musician Schaunard and Nathan Milholin as the philosopher Colline joining Rodolfo and Marcello). They carried off the banter, pretend dueling, and mockery of various dances with great style.

AVA's stage is very small, and set changes are usually carried out minus curtain and in full view of the audience. It was impressive to see the festive Café Momus scene emerge, with tables, chairs, balloons, and other props placed and costumed singers appearing - all of this choreographed in strict order and with nary a collision or clattering dropped fork.

Conductor Christofer Macatsoris was his usual inspired self, bringing to vivid life every orchestral element, from washes of romanticism to a crackling fireplace and the icy cold that Mimì suffered in Act III.