United States Puccini, La bohème: Soloists, Chorus and Orchestra of Metropolitan Opera / Kensho Watanabe (conductor). Metropolitan Opera, New York, 30.11.2024. (RP)
Production:
Original director – Franco Zeffirelli
Revival Stage director – Mirabelle Ordinaire
Sets – Franco Zeffirelli
Costumes – Peter J. Hall
Lighting – Gil Wechsler
Chorus director – Tilman Michael
Cast:
Marcello – Boris Pinkhasovich
Rodolfo – Dmytro Popov
Colline – Bogdan Talos
Schaunard – Gihoon Kim
Musetta – Emily Pogorelc
Benoît / Alcindoro – Donald Maxwell
Mimì – Gabriella Reyes
Franco Zeffirelli’s La bohème has been presented more than 500 times since its premiere on 14 December 1981, making it the most performed production in Metropolitan Opera history. It has a few more years to run before it eclipses the Met’s first production of the Puccini favorite – which ran from 1900 to 1952 – for longevity. That was a different era, and scouring the Met’s archives doesn’t reveal who directed the production. Times indeed have changed.
Applause breaks out when the curtain rises on the Café Momus, and there is another outburst when the donkey and horse appear later. It is the same when the audience first glimpses the gently falling snow upon the Barrière d’Enfer. One almost wishes the conductor would hold off with the downbeat before both acts to get the applause out of the way before the music starts.
For this Saturday matinee performance, a youthful, sympathetic cast with wonderful voices summoned the drama and heartache of Puccini’s tragedy. The four male Bohemians’ energy and hijinks added a special zest to the experience. Although a youthful conductor is not a requisite ingredient for success, Kensho Watanabe conducted with vigor and sensitivity. Many had a tear in the eye or a lump in the throat as the curtain fell on the last act.
Gabriella Reyes has sung Musetta previously at the Met and will return for four more performances in the role next spring, but this performance marked her house debut as Mimì. The soprano put an indelible stamp on the role with her expansive, creamy soprano voice and her sensitive acting. The chemistry between Reyes and her Rodolfo, Dmytro Popov, was instantly evident. There was nothing covert about either her blowing out the candle or him pocketing the lost key, which he found almost instantly. Young love struck these young lovers like a bolt of lightning.
Every note that Reyes sang was vocal gold. The soprano’s voice blossomed radiantly when she sang of spring in ‘Sì, mi chiamano Mimì’, and soared in ‘O soave fanciulla’ when expressing her love for Rodolfo. This Mimì was eager for fun and romance and showed no reluctance to join Rodolfo and his friends in celebrating Christmas Eve – all of which made the sorrows to come all the more poignant. In the final scene, Reyes’s face was wan, and her voice stripped of its youthful charm and glean, but Mimì’s emotions burned just as fiercely.
Popov is a dashing, youthful Rodolfo who takes himself more seriously as a lover than a poet. His voice is strong and true, although it took some time for it to warm up and his top notes to ring out clearly. He is a subtle singer, which was best evidenced by the soft, shimmering phrases that he floated in ‘Donde lieta uscì’ when the lovers agree to separate without a trace of rancor.
Emily Pogorelc was a delightful Musetta, alternately coquettish and feisty but ultimately tender and caring as Mimì was dying. Her ‘Quando me’n vo’ was sparkling and luscious – every bit the showstopper it should be. Her final prayer was simple, moving and beautiful.
Boris Pinkhasovich’s Marcello, Bogdan Talos’s Colline and Gihoon Kim’s Schaunard were a boisterous, jovial lot. The three, along with Popov, have been part of the cast since the run started in mid-November, and their onstage camaraderie emerged effortlessly. Pinkhasovich’s Marcello was a hale fellow with a voice to match. Kim was not quite a scene-stealer, but his Schaunard made more than the usual impact.
Talos’s philosopher was of the real world, not lost in his thoughts. The decision to sell his coat came spontaneously, with no drama attached to it whatsoever. That carried over to Colline’s farewell to the beloved overcoat being sung in a voice that was deep and resonant, like the emotions Talos conveyed so effectively. Donald Maxwell’s Benoît and Alcindoro were richly detailed but not fussy. He is a marvelous character actor, who knows the wisdom of restraint.
Watanabe made his Met debut with the world premiere of Kevin Puts’s The Hours in 2022, and this run was his first time conducting standard repertoire in the house. He imbued Puccini’s score with expansiveness and emotion, together with all the attention to detail for which one could wish. The Met chorus and orchestra were excellent. The stars were aligned for this La bohème and the results were magical.
Rick Perdian
Wonderful!