A large and vivacious crowd filled most of the Benedum last night for the first performance of Pittsburgh Opera’s La bohème, and was treated to a production that dazzled in all particulars. Principal singers and chorus members alike, supported by a mostly sumptuous orchestral reading and stage pictures that were truly eye-popping, sang and acted in a manner that was purely magical entertainment, and a thunderous ovation at the opera’s conclusion seemed to cheer both cast and audience, for the first group could rest assured that they had given of their best, and the second demonstrated its appreciation of their efforts by responding in a way that made the evening an especially grand “grand opera” thrill.
To be sure, there were individual triumphs and shortcomings during the evening, but La bohème is an opera that relies heavily on a finely tuned ensemble, and this production proves that every detail, from the smallest to the largest, receives the sort of attention necessary to deliver a highly polished entirety that makes the solo performances shine more brightly. That no possibility is overlooked is probably most evident in the brilliant second act, when the principals and large chorus perform in the midst of wonderfully lit, meticulously detailed and colorful scenery for a spectacle so entertaining that it alone is worth the price of admission. There are plentiful opportunities in the other three acts as well, and full advantage is taken at every turn, but the curtain rose at the conclusion of the second so that the audience could show its appreciation of the well choreographed, wonderfully costumed ensemble so effectively augmented by remarkably professional little members of the Pittsburgh Youth Chorus.
The comic and tear-jerkingly melodramatic moments of the opera depend largely on effective orchestral support, and that is what they receive under the baton of Jean-Luc Tingaud. He and the instrumentalists delivered a symphonic accompaniment of nearly perfectly shaded dynamics that whispered or rang out triumphantly at the right moments in a manner which made a few slips almost imperceptible. The onstage ensemble has been mentioned, but too much cannot be said of the chorus under Mark Trawka; the scenic designs of Michael Yeargan, the costumes of Zack Brown; all brilliantly lit by Andrew Ostrowski and wonderfully directed by Stephanie Havey – but these would lose a bit of their luster without the instrumental under-current delivered by Mr. Tingaud and his players.
Of the individual singers, it was natural that chief interest centered on Nicole Cabell as the tragic Mimì, since she was a newcomer to Pittsburgh Opera’s stage, and to say that she made an excellent first impression would be an understatement. Hers is a pure, evenly produced and exceptionally rich soprano voice, velvety and creamy in color and silken in texture. Both vocally and in action she made the most of the wide variety of emotions the role offers. She rose to thrillingly dramatic heights particularly in the third act, but was a delight to see and hear throughout.
Nicole Cabell as Mimi
It was a pleasure to hear Sean Panikkar again, even if Puccini’s Rodolfo may be – in spots – a quarter size beyond his limits. He is as exceptionally gifted singing actor, but there were moments, particularly in the first act, when his tenor was taxed to its full capacity, though he warmed in the part and improved as the evening progressed. Much the same may be said of baritone Craig Verm as Marcello, but since both men are certainly not lacking in talent, it’s a safe bet that each will ripen his interpretation now that first-night jitters are out of the way. Resident Artists Ben Taylor (Schaunard) and Tyler Zimmerman (Colline) made the most of their opportunities, and veteran Kevin Glavin offered a double dose of fun as both the blustery landlord Benoit and the old fool Alcindoro.
The small but pivotal role of Musetta, in the hands of Sari Gruber, took on just the right prominence, and her singing and comedic antics were a highlight of the evening. Terrence Chin-Loy (Parpignol), David Scoville (Prune Man), Joshua Mulkey (Customs Officer) and J. Patrick McGill (The Sergeant) completed the ensemble, and a young lady named Evangeline Sereno echoed Parpignol’s refrain quite effectively.
Musetta (Sari Gruber) has a bevy of suitors
This exceptionally entertaining production of La bohème is the 20th offered by Pittsburgh Opera in its 80 years of history, and as a whole explains the popularity of the work in no uncertain terms.
For tickets, full production details, additional photographs that capture the visual opulence of the staging as well as still photography can, and more, visit Pittsburgh Opera.
The “Artistic Team” for La bohème –
Conductor, Jean-Luc Tingaud; Stage Director, Stephanie Havey; Scenery Designs, Michael Yeargan; Costume Designs, Zack Brown; Lightning Designer, Andrew Ostrowski; Wig & Makeup Designer, James Geier; Assistant Conductor, Glenn Lewis; Chorus Master, Mark Trawka; Assistant Coach/Pianist, James Lesniak; Assistant Director, Matthew Haney; Stage Manager, Cindy Knight
David Bachman Photography
A Pittsburgh native, George B. Parous began his studies of music and the ‘cello in grade school before his interests turned to opera, its performers and history while in his teens. He has been acknowledged as a contributor or editor of several published works (the first being “Rosa Raisa, A Biography of a Diva,” Northeastern University Press, 2001), and is currently working on his own biography of the German-American dramatic soprano, Johanna Gadski, who sang at the Metropolitan during the “Golden Age of Opera.” A retired IT Analyst, he is an avid genealogist, and has traced his maternal line to 8th century Wessex, England. He’s been a contributor to Pittsburgh in the Round since 2014.
Categories: Archived Reviews