By Jacob Stockinger
The Opera Guy for The Ear went to the University Opera’s performances of “La Bohème” on Friday and Saturday nights so he could sample both student casts. He filed this review, which is accompanied by photos taken by Michael R. Anderson for the University Opera.
By Larry Wells
I attended the first two of the three performances of University Opera’s production of Puccini’s “La Bohème.” This production made use of the expansive and technically advanced Shannon Hall in the Wisconsin Union Theater. Deservedly, the hall was nearly full for both of the performances I attended.
Director David Ronis decided to update the setting to Paris in the mid-1920s primarily using posters, wigs and wonderful costumes to suggest the decade. Joseph Varga’s beautiful and clever single set incorporated ingenious slight changes act by act to suggest the opera’s various settings. Along with Sruthi Suresan’s subtle lighting design, the production was a visual delight.
Ronis’ able hand was evident in the players’ acting. The cast was consistently believable, and consequently I was drawn into their world and suffered along with their despair over love’s inconsistencies and death’s sting. Using my acid test for a performance’s success, I never glanced at my watch either night. I was fully engaged.
The orchestra was a marvel. Conductor Chad Hutchinson let it soar when it was appropriate, but the orchestra never overshadowed the singers. In fact, the key term that kept occurring to me both evenings was balance. The acting, the back-and-forth between the singers, and the interplay between the orchestra and the singers were consistently evenhanded.
As for the singers, the primary roles were double cast. Friday’s Mimi was Shaddai Solidum whose first aria “Mi chiamano Mimi” was a lesson in the mastery of legato. Saturday’s Mimi was Yanzelmalee Rivera who possesses a bell-like voice of remarkable agility.
Benjamin Liupaoga as Rodolfo sang a fine opening aria – “Che gelida manina” – with finesse and credibility. José Muñiz’s Rodolfo was initially restrained, but soared to great heights in the second act. (Below are Jose Muniz and Yanzelmalee Rivera as Rodolfo and Mimi.)
The interactions between Mimi and Rodolfo were believable, touching, and musically magical. The duet at the end of the first act “O soave fanciulla” was uplifting both evenings. I always marvel at the Wagnerian chord progression. The audience was so enthusiastic Saturday night that its applause nearly drowned out Mimi and Rodolfo’s offstage “Amor! Amor!”
I feel that Musetta is the hardest role to convey successfully. She has to come off as a combination of carefree and needy in the second and third acts and then compassionate and vulnerable in the final act. Katie Anderson and Claire Powling both handled the acting and the vocalizing with aplomb. The singing in the ensemble after Musetta’s Waltz at the end of the second act was outstanding. Below foreground are, left to right: Claire Powling (Musetta), Michael Kelley (Waiter), Jake Elfner (Alcindoro)
Matt Chastain’s Marcello was dark and brooding while James Held’s was more carefree and pragmatic. Both were able singers, and I found their ensemble work exceptional. In fact, the duets, trios, quartets and ensemble scenes throughout the opera were uniformly terrific.
The minor characters and the choruses were all excellent. But special praise must go to Benjamin Schultz-Burkel as Colline whose small aria in the fourth act (below) was a true showstopper. In the death scene finale of Act 4, left to right, are: James Held (Marcello), Claire Powling (Musetta), Jose Muniz (Rodolfo, kneeling), Yanzelmalee Rivera (Mimi), Benjamin Schultz-Burkel (Colline, standing)
My major piece of advice to the singers would be to trust their training. Some of the singers seemed initially tentative, but when they let themselves go they were fantastic. (Below is Yanzelmalee Rivera as Mimi.)
The program lists “Into the Woods” as University Opera’s production next spring in conjunction with the UW theater department. Although I personally look forward to it, I wonder about the blurring between opera and musical theater.
In any event, I was very pleased by both performances and give my heartfelt congratulations to the casts and staff for a memorable musical and theatrical experience. But I had to laugh at the supertitle for one of Mimi’s lines: “I wish the winter would last forever.”
[…] counts – from the staging and the costumes to the singing and the orchestra” Larry Wells, The Well-Tempered Ear, Feb. […]
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Pingback by Concerto Winners on stage March 18; Meet Satoko Hayami from “Sound Out Loud”; Jazz Orchestra 50th anniversary podcast | A Tempo! — March 2, 2018 @ 12:06 pm
Attended the Sunday performance, which I loved a lot. Benjamin Liupaogo was also impressive as Rodolfo.
A few times the orchestra was a bit loud but we were in the second row. It was my adult daughter’s first opera and she liked it as much as “Rent.”
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Comment by bbead — February 27, 2018 @ 9:01 am
An excellent review: I especially like the fact that the reviewer told everyone that the performance house was pretty much full. This is often neglected in reviews.
I cannot speak toward the question of balance, it might depend on where one sits and also on one’s perspective and whether they are instrument or voice attuned.
I do think Into the Woods will not be a blur and it is an excellent choice. The 2014 movie (with many stars) was a huge hit so it will be working off this. It’s played at London’s Royal Opera House, the Sydney Opera etc. so I think one need not worry about the blur that the reviewer is concerned with.
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Comment by fflambeau — February 27, 2018 @ 12:42 am
I was also at the Saturday evening performance, and while I agree with most of the review by Mr. Wells, I must emphatically disagree with him about the vocal/orchestral balance.
I found the orchestra too loud throughout the entire performance, forcing the singers to push much more than they should have had to do, which really marred some of the arias, especially the opening of the Act 1 duet between Mimi and Rodolfo.
As a violist and former student in the SoM, I have played in that pit. I know it can be extremely problematical. I have also played La Bohème with the UW Opera, although it was with Prof. Karlos Moser, and in Music Hall, so I do know whereof I speak.
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Comment by bratschespeilerin — February 27, 2018 @ 12:31 am
To comment on a previous UW Opera Bohème just alluded to (the two April 1998 performances conducted by Karlos Moser, at his retirement), that was a splendiferous production at Music Hall: Wendy Rowe was Mimmi, Emily Wallace the Musetta, Todd Wilander (Rodolfo), Ron Watkins (Marcello). Dan Plummer (Schaunard), Ken Church (Colline), David Hottmann (Benoit), Chris Vogt (Alcindoro), James Rowe (Parpignol), and yes the orchestra also was splendid (especially the violas).
The performances last weekend depended much less on alumni and guest artists than that gala 1998 production, partly a reflection of the improved financial support for the current opera program. That is indeed growing nicely, but still looks for further support in the next years to provide better funding for students and their productions. (Can YOU help? Please consider that!)
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Comment by Dan Shea — February 28, 2018 @ 1:53 am
I was referring to a production of La Bohème in the late 70’s/early-to-mid 80’s, not Karlos’ retirement production of it.
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Comment by bratschespeilerin — February 28, 2018 @ 2:51 am