The Canadian Opera Company has brought back John Caird’s 2013 production
of La
Bohème for its spring season, together with Verdi’s Otello.
It is a sound decision that was greeted enthusiastically by the audience.
The revival is served superbly by the cast. Brazilian tenor Atalla Ayan
has a supple voice that can express emotion and soar to the high notes with
ease. The night I saw the opera (April 26), we were advised that he was singing
Rodolfo under the effects of a cold. There was no evidence of any adverse
consequences and his performance was topnotch. After the tomfoolery of the poor
artists in the attic and the arrival of Mimi, Ayan delivers a superb “Che
gelida manina” combining youthful bravado with a wonderful melody and we were
hooked.
A scene from the
Canadian Opera Company’s production of
La Bohème, 2019, photo: Michael Cooper
American soprano Angel Blue seemed initially not to have a big enough
voice for the Four Seasons Centre but that impression was quickly dispelled. She
starts haltingly with “Si, Mi chiamano Mimi” and pours forth her life leading
to the inevitable – love. The one, two, three punch comes with the love duet
between Rodolfo and Mimi, “O soave fanciulla,” and we got our money’s worth.
The rest is a bonus.
Canadian soprano Andriana Chuchman manages to sound sultry as Musetta,
the teaser and abuser of men who has a heart of gold. Her signature aria is her
“Quando m’envo” better known as Musetta’s waltz and Chuchman brings the vocal
kick and manipulative bravura worthy of the show-stopper aria.
Rodolfo’s three friends deserve special mention. American baritone Lucas
Meachem as the painter Marcello was vocally the most distinguished of the trio.
He showed exuberance in his acting and singing as a sympathetic friend and the
hapless former lover of Musetta. American bass-baritone Brandon Cedel was good
as the philosopher Colline and Canadian baritone Phillip Addis as the musician
Schaunard sounded as if he were not having his best day.
Lucas Meachem as Marcello, Angel Blue as
Mimì (in background), and
Atalla Ayan as Rodolfo. Photo: Michael Cooper
David Farley’s set featured a hefty number of large canvasses in the
first act. The set was turned around quickly for the scene change from the
attic to a street in the Latin Quarter for the second act. The background was
not well-lit nor a particularly prepossessing street scene but otherwise it was
quite good. The third act scene by a tavern near the city gates at dawn looked
somber. It is supposed to be snowing but, we had to settle for a few
snowflakes. Clearly we have more important things to do like listening to the
heart-wrenching Marcello-Mimi duet and her farewell to Rodolfo. Marvelously
done.
John Caird took a conservative, traditional approach to the opera and it
works superbly in the revival directed by Katherine M Carter.
Paolo Carigniani conducted the Canadian Opera Company Orchestra in a performance that got a well-deserved standing ovation.
_____
La Bohème by Giacomo Puccini with libretto by Giuseppe
Giacosa and Luigi Illica opened on April 17 and will be performed ten times on
various dates until May 22, 2019 at the Four Seasons Centre for the Performing
Arts, 145 Queen Street West, Toronto, Ontario. Tel:
416-363-6671. www.coc.ca
James Karas is the Senior Editor - Culture of The Greek Press. www.greekpress.ca
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