La Bohème FAIRFAX, VA Virginia Opera 11/14/15
VIRGINIA OPERA’S NOVEMBER 14 performance of La Bohème at George Mason University’s Center for the Arts—dedicated to the memory of victims of the terror attacks that had occurred the night before in Paris—could not help but give one pause. To see Parisians enjoying cafe nightlife in Act II underlined in an all-too-relevant way the fragility of life; the sight of uniformed characters searching bags carried by workers arriving at the start of Act III likewise took on an eerie layer of significance.
Director Kyle Lang, who updated Puccini’s evergreen opera to 1939, generated a fresh and involving experience, aided by a young cast that maintained a tight level of ensemble throughout. Stage business, especially the Cafe Momus scene and the antics in the attic prior to Mimì’s arrival during the last act, were carried out with an exceptional naturalness and sense of spontaneity.
Musically, the evening proved less consistent, though there was never a lack of expressive fire. As Mimì, Elaine Alvarez revealed an ample, rather plush soprano. If her dynamic range didn’t vary a great deal (pianissimos were disappointingly infrequent), the warmth in her singing counted for a lot, as did her for impressive legato phrasing, notably in “Donde lieta usci.” And there was a remarkable gleam in her spot-on off-stage top note at the close of Act I. Her spaciously paced “Mi chiamano Mimì included a lovely, subtle physical detail when, as she sang the word “poesia,” she clutched a verse-filled paper that Rodolfo had handed her during his aria. Jason Slayden cut a handsome figure as that poet, but his vocalism did not offer corresponding suavity. The voice sounded gruff and vibrato-heavy, especially when pushed. Still, the passion in the tenor’s singing hit home, especially in Act III.
Zulimar Lopez-Hernandez brought a light, bright tone, spicy phrasing and engaging personality to the role of Musetta. Edward Parks gave a persuasive portrayal as Marcello, using his robust, smoothly produced voice to telling effect at every turn. Andrew McLaughlin’s light baritone limited his vocal impact as Schaunard, but his phrasing communicated vividly. Jake Gardner made the most of the Benoit/Alcindoro assignment, proving to be quite the scene-stealer; it was especially refreshing to hear the landlord’s music truly, fully sung, free of cliché old-man sounds. Whatever he lacked in tonal heft, Keith Brown more than made up for with his musicality as Colline; he tailored the coat aria perfectly to his voice, singing it softly and intimately, inflected with refined rubato. Helping shape that aria so eloquently was the company’s principal conductor Adam Turner, who provided sensitive guidance all evening and drew secure playing from the Virginia Symphony. The chorus did sturdy work. The production, from Opera Theatre of Saint Louis, was small-scaled, but Erhard Rom’s set still evoked a good deal of atmosphere. —Tim Smith