If one were to compile a list of five operatic warhorses most likely to survive a make-over, Giacomo Puccini’s La Bohème would easily place, if not take the number one spot. Pittsburgh Festival Opera proved the work can be effectively revisited and revised last night with La Bohème Warhola, in a performance much enjoyed by a fair-sized audience. Puccini’s music and characters are to a large extent intact, but an English translation, reduced orchestration (rearranged and augmented by electronic instruments), scenic effects, costume designs and more did a fair job of moving the action to the “art scene” of Andy Warhol’s late 1960’s New York. Puccini’s magnificent orchestration plays a very large part in the popularity of his operas, and tampering with it is to skate on thin ice, but even those who love La Bohème (and there were a number of them in last night’s audience), were entertained for a few hours that seemed to fly by more quickly than they frequently do in a “traditional” staging of the work.

A large and colorful ensemble was employed in a few scenes, and they stood out as the major onstage factor that moved the action to its new locale and era, while behind the scenes, it was the orchestra that lent a more “contemporary” beat to the music. Mimì’s illness seemed to be drug related, but this was very briefly implied, rather than forced. For the rest, the tuneful and beloved arias remain, supported by Daniel Schlosberg’s orchestration and conducting. His revision of the score gives a sound that is more in keeping with a “musical,” a bit too brassy in spots, but the singing actors in the cast are most definitely operatic vocalists in every sense.

Jessica Sandidge (Mimi) and Jonathan Tetelman (Rudolph)

The roles of the tragic couple, Mimì and Rudolph (or Rodolfo) were well taken by Jessica Sandidge and Jonathan Teleman. They were believable in appearance, and both possess voices of much power and beauty. Ms. Sandidge’s soprano is infused with a great deal of beauty, warmth, and brilliancy, and in solo, duet and ensemble passages it rang out with a lovely fluency. Much of the same may be said of the singing of Mr. Tetelman. His is a true and resounding tenor voice, at its best when not forced. Both acted well together, passionate in the spots calling for it, detached in others.

Joshua Jeremiah (Marcel) stood out in the crowd, singing with a powerful, true baritone voice, and he acted the part with a great flair for comedy. A black leather jacket and his mop of dark curly hair gave him a look that fit well into the scene. The always reliable Matthew Scollin (Colline) acted the part in his animated fashion, and his voice was heard to its usual advantage, although the famous lament to his old coat was sung with little of the plaintive pathos usually associated with it, but this may have been an intentional rendition more in keeping with its new surroundings.

Nicolette Mavroleon (Musetta) (seated)

Nicolette Mavroleon (Musetta) instilled into her role the vocal opulence and comedic acting that made the listener wish that Puccini had given the character more to do, but this is frequently the case in more traditional settings of the opera. Little solo singing is given to the majority of the characters in the work, but that little was well sung by the remainder of the cast, and all acted their parts effectively. Joel Balzun (Schaunard), Ganson Salmon (Parpignol), T. Hastings Reeves (Alcindoro and Benoit) and Derrick R. Brown (Custom’s Sergeant) all made the most of their brief opportunities.

Special mention is due to the large and talented ensemble. ShayLyssa Alexander, Devan Baulager, Derrick R. Brown, Sophia Emanuel, Nick Krsnich, Clara Lisle, Chynna Lucken, Erin McMullen, Brenten Megee, André Peele, Jesse A. Preis, Ganson Salmon and Natasha Wroblewski made up a colorful and entertaining lot of hipsters, hair-hoppers, transvestites, hustlers, “local color” characters, photographers and one or two who seemed to just be “slumming it.” They all added much to the enjoyment of the evening. The limited stage capacities of the Falk Auditorium also called on them in a few awkward moments of scene shifting, but they handled it as best they could.

La Bohème Warhola will be repeated Sunday, July 8, at 2:00 pm; Thursday, July 12, at 7:30 pm; Saturday, July 14, at 7:30 pm and Thursday, July 19 at 7:30 pm. The production is well worth the reasonable admission prices, so for tickets, more extensive production details and more, visit Pittsburgh Festival Opera.

The Production Team for La Bohème Warhola –

Music, Giacomo Puccini; Libretto, Luigi Illica and Giuseppe Giacosa; English Translation, Amanda Holden; Director, Louisa Proske; Conductor and Orchestration Arranger, Daniel Schlosberg; Assistant Conductor, Joseph Bozich; Rehearsal Pianists, Elizabeth Chua and Erica Xiaoyan Guo; Scenic Design, Kate Noll; Costume Design, Beth Goldenberg; Lighting Design, Bob Steineck; Hair and Makeup Design, Jina Pounds; Assistant Director, Daniel Grambow; Stage Manager, Kathleen Stakenas; Assistant Stage Managers, Louise Brownsberger and Mitchell Bergens

Photography – Heather Mull

Categories: Archived Reviews

Tags: Falk Auditorium, La Bohème Warhola, Pittsburgh Festival Opera, SummerWithPITR