Review: Pittsburgh Opera presents exquisite, charming 'La Boheme'
The Pittsburgh Opera's 2014 production of Giacomo Puccini's “La Boheme” received a warm opening-night reception March 29 at the Benedum Center, Downtown.
“La Boheme” was first performed Feb. 1, 1896, in Turin, Italy, conducted by a young Arturo Toscanini. Despite a cool initial reception, it quickly gained popularity and soon was performed around the world.
The story revolves around four Parisian roommates who live in a garret — Rudolfo, Marcello, Colline and Schaunard — and Rudolfo and Marcello's love interests, Mimi and Musetta. The two couples have relationship problems that might seem familiar to many. Poverty, love, frustrated creativity, infidelity and fear of commitment are all part of their milieu.
That is one reason this story of struggling 19th-century artists still has resonance today, and has inspired subsequent works such as Jonathan Larson's Broadway musical, “Rent.”
But, first and foremost, Puccini's music pulls us in with its captivating melodies and luscious harmonies. The Pittsburgh Opera presents this gorgeous music, performed by a wonderful, evenly talented cast and the Pittsburgh Opera Orchestra. The orchestra, under the direction of music director Antony Walker, has developed a continuity we have come to rely on for its expressive, musical performances.
Then there is the dramatic impact of a libretto of nitty-gritty, but romanticized real life (Italian “verismo” style or realism), which has a resonance for us today as it did for Puccini, as an impoverished young artist in Milan. He stated: “I lived that ‘Boheme,' when there wasn't any thought stirring in my brain of searching for an opera theme.”
Rising star soprano Leah Crocetto made her Pittsburgh debut as Mimi, her rich, sonorous voice pairing well with the lyric beauty of tenor Eric Barry as Rodolfo. Their first-act solo arias united them dramatically and their duet “O soave fanciulla” ended the act with a tender, restrained beauty. Barry, who was already scheduled to sing Rodolfo at the student matinee April 4 and the final performance April 6, was a last-minute replacement Saturday for David Lomeli, who has withdrawn from all performances.
The more volatile relationship of Marcello and Musetta was supplied by excellent baritone Troy Cook, in his Pittsburgh Opera debut, and talented soprano Sari Gruber, returning after memorable past Pittsburgh Opera stints as Mozart's Zerlina, Susanna and Despina. Vocal contributions aside, their dramatically on again-off again dysfunctional coupling begged for a good therapist.
The quartet of Bohemian males was rounded out by bass-baritone Phillip Gay as Colline and baritone Dimitrie Lazich as Schaunard. Both their vocal and dramatic talents added immeasurably to the first- and fourth-act quartets. Especially noteworthy was Gay's solemn “Vecchia zimarra.”
Returning in the dual roles of Benoit and Alcindoro is basso buffo Kevin Glavin, always a welcome sight and sound on the Benedum stage.
“La Boheme” is not without its challenges. Co-stage directors Tomer Zvulun and Helena Binder brought much to this production. Much of the staging had a grace and naturalness that we do not always see on opera stages. The second act at the Cafe Momus had a vitality that was simply delicious. Kudos to the Pittsburgh Opera Chorus and the Children's Festival Chorus, which added to the fun. The second act ended with a flash photo of the “Boheme” group of friends, which then was projected on the between-act scrim. Along with period photos of Paris, it supplied visual connective tissue between acts. A nice touch.
The dramatic thread of “La Boheme's” libretto does not always hold together, particularly in the ways the third and fourth acts can seem to lag. That being said, few of us can or want to deny the power and genius of Puccini's music, which ties “La Boheme” together into an unforgettable experience.
