United States Puccini, La bohème: Soloists, Uniting Voices Chicago, Chorus and Orchestra of Lyric Opera of Chicago / Jordan de Souza (conductor). Civic Opera House, Chicago, 28.3.2025. (JLZ)
Production:
Director – Melanie Bacaling
Sets – Gerard Howland
Original Costume designer – Peter J. Hall
Costumes – Jeannique Prospere
Lighting – Duane Schuler
Chorus director – Michael Black
Children’s Chorus director – Josephine Lee
Cast:
Mimì – Ailyn Pérez
Rodolfo – Pene Pati
Musetta – Gabriella Reyes
Marcello – Will Liverman
Colline – Peixin Chen
Schaunard – Ian Rucker
Benoit / Alcindoro – Levi Hernandez
Parpignol – Travon D. Walker
Customs sergeant – Nikolas Wenzel
Customs officer – Rafael Porto
Puccini’s perennially popular La bohème benefits from renewed interest as directors find various settings for the opera – here, director Melanie Bacaling has placed the work in Belle Époque Paris. This new-to-Chicago production draws on the one done at the Los Angeles Opera three decades ago, and it works well on the stage of the Civic Opera House. The traditional staging has some details worth exploring, with the real proof of its usefulness coming from the ways in which is creates suitable spaces for the singers to interact.
The cast is solid, starting with Ailyn Pérez as Mimì. Pérez was convincing both musically and dramatically and made her character come alive with the thoughtful phrasing, dynamic control and diction that the demanding part requires. In the Act I duet with Pene Pati as Rodolfo, Pérez brought out details that invited the audience to listen for the nuances she used to shape the role. The two singers worked together well, with the first act crystallizing almost magically in the final passages of their duet. Pérez was even stronger in the second act, and she gave Puccini’s music the breadth of expression that it deserves. The audience was held in rapt attention as Pérez gave exemplary phrasing to ‘Donde lieta uscì’ before the duet in which Mimì and Rodolfo decide to reunite. Even more impressive was the way Pérez gave the last act the musical delicacy and dramatic flair that bring audiences back.
It was a similar case with the convincing Rodolfo of Pene Pati. His supple tenor and elegant phrasing encouraged the audience to listen more closely to the details in Puccini’s score. Pati has the range and facility that allow him to approach this role comfortably. He engaged the audience with the subtleties in Act I, particularly in ‘Che gelida manina’, and that led nicely to the exchanges between Rodolfo and Mimì that precipitate the end of the act. In Act III, Pati’s scene with Marcello led smoothly to his crucial dialogue with Mimì, and Pati and Pérez made the conclusion of the act parallel that of the first.
The entire cast was well-chosen. Gabriella Reyes was a vivid Musetta and brought out the overstatement in the role while never losing sight of the musical line. Her emotional pitch in ‘Intesi dire che Mimì, fuggita dal Viscontino’ in Act IV was essential in evoking the pathos in the scene. Ian Rucker as Schaunard made the role stand apart with a consummate style and elegant delivery that will serve him well as he takes on more demanding roles. Peixin Chen worked well with the other Bohemians in the ensembles and was particularly memorable in the ‘coat’ aria in the last act. Will Liverman as Marcello was a good foil for Musetta, yet he shed his aloofness in the Act III duet when he talked about Mimì with Rodolfo.
The orchestra rendered the details of this score beautifully and responded well to Jordan de Souza. The balances allowed the voices to be heard easily, and this was particularly true in Act II where the Lyric Opera Chorus used its talents in the crowd scene. At times, the pacing lagged when the action resumed after applause for some of the principals, but that did not harm the overall effect which had the polish appropriate to this house and the opera itself. While some of the publicity for the opera brings out the qualities that make it a good choice for those without much experience of opera, those who know La bohème should find this production at Lyric Opera of Chicago an engaging one.
James L. Zychowicz