The production of Giacomo Puccini’s La bohème featured during the current season at Lyric Opera of Chicago provides the opportunity to experience both vocal and dramatic elements of this work with renewed vigor. The present staging sets the opera in 1880s Paris with costumes and overall design reflecting such choice. The roles of Rodolfo and Mimì are sung by Pene Pati and Aylin Pérez, those of Marcello and Musetta by Will Liverman and Gabriella Reyes. The musician Schaunard is performed by Ian Rucker, and the philosopher Colline by Peixin Chen. The roles of both Benoit and Alcindoro are performed by Levi Hernandez. Parpignol is portrayed by Travon D. Walker. Originally a co-production by Los Angeles Opera and The Dallas Opera, this staging of La bohème is now directed by Melanie Bacaling; set designs are by Gerard Howland. The original and current costume designers are Peter J. Hall and Joanique Prospere. Lighting is designed by Duane Schuler. These performances of La bohème are conducted by Jordan de Souza. The Lyric Opera Chorus and the Children’s Chorus are prepared by Michael Black and by Josephine Lee respectively. Making debuts at Lyric Opera in these performances are Mmes. Bacaling and Prospere, as well as Messrs. Pati and Howland.
The opening of Act One shows a spare yet cluttered living space with a view of the sky and rooftops appearing gradually at the back of the stage. The writer and the artist engage in affable banter on the seriousness of their frigid quarters. Mr. Pati’s voice and his approach to the role of Rodolfo are unique. His full voice has a pleasing touch of vibrato, while piano notes and phrases are effortless in sustained and equally projected effect. This distinct technical control allows for a jocular impression when performing, at first, with Mr. Liverman’s Marcello and subsequently with the other bohemians. Yet Rodolfo’s credible tenderness in the scenes of growing ardor for Mimì draw on Pati’s vocal transitions and his projected understanding of his character’s persona. Liverman’s Marcello is an appropriate foil to this Rodolfo: his lively dramatic responses are delivered with spirited understanding in this first act. The camaraderie takes on delightfully swift repartee with the separate arrival of the additional bohemians, Colline and Schaunard. Their vocal quartet reaches a synthesis here before an individual contribution emerges from the group. At this point it is Schaunard who in his jovial spirit encourages the others to participate in Christmas Eve outside among the crowds. In his distinctive, brief solo piece as Schaunard Mr. Rucker demonstrates both vocal finesse and dramatic command, he succeeds in blending a comic flair with lyrical gusto. Rucker’s corporal movements are attuned to the pitches of the musical line, such that a fleeting scene develops while the others on stage watch and give notice. Later in Act Four Colline will have a comparable, brief scene yet one illustrating the somber mood of the opera’s conclusion. After Rucker’s performance as Schaunard in Act One the subsequent scene between Rodolfo and Mimì introduces protagonists to each other and develops a growing emotional relationship. At her entrance Ms. Pérez is decidedly tentative, as one expects of her character. The occasional vocal bloom in “Si. Mi chiamano Mimì” is used touchingly by Pérez to race her character’s association of objects with thoughts “d’amor, di primavera” [“of love and springtime”]. Pati’s “Che gelida manina,” preceding Mimì’s lyrical musing, blends color with requisite vocal intensity. His declaration of identity builds gradually to incorporate forte pitches while addressing gentler tones toward Mimì, as he begins to communicate his feelings. By the close of the act their voices hve merged in a believably emphatic declaration of the power of burgeoning love.
The staging of Act Two is a cramped and bustling realization of Schaunard’s temptation from the preceding act. The happy, new couple has joined Rodolfo’s friends, while attention focuses at first on the now enhanced spirit of the evening. In contrast, the estranged couple of Marcello and Musetta becomes a centerpiece, at first for the audience and finally for the spectators. Liverman’s Marcello is justly aloof, as he witnesses Musetta in the company of a present suitor. Ms. Reyes performs Musetta with energetic poise in both dramatic and vocal characterization. Her noted waltz, “Quando men vo,” is bright and soaring, with several excessive forte pitches excused by virtue of Musetta’s personality and present goals. Through voice and gesture Reyes convinces her Marcello of the possibility of rekindling their emotional involvement. By the close of the scene at least the semblance of happiness is forecast for both couples.
The gritty realism achieved by the stagecraft of Act Three underlines an emotional awareness plaguing the protagonists. Early in the cold winter day street cleaners pass the customs house and tavern where Musetta and Marcello have settled for the present time. Voices heard from within contribute to an atmosphere of expected daily routine. Soon Mimì appears and expresses her relief at the opportunity to confer with Marcello. This first dialogue is followed by two further exchanges, next between Rodolfo and Marcello, and finally between Mimì and Rodolfo. The tension of emotions increases gradually as Mimì first asks Maecello after the mood and well-being of her lover. In the second dialogue Marcello speaks with Rodolfo who tries to hide his ever-present concern for Mimì. In these first two dialogues Pérez and Pati sing with guarded emotions, as though hoping for a recurrence of distant memories. Liverman remains somewhat aloof in these exchanges as if allowing for whatever resolution may come. In the final, poignant duet between Mimì and Rodolfo the uncertainty of the future, almost in keeping with these surroundings, is recognized, yet the human spirit prompts both to allow their love to play itself out. Prior to this final exchange Pérez sings the moving solo for Mimì with aching tenderness. Her line from gentleness to focused full voice is used with seamless expression as she offers to return both objects and thoughts associated with them to free Rodolfo. Pérez captures the essence of this tightly structured act and the wavering relationship in an unforgettable gem.
In Act Four the friends seem to return to joviality in the same attic of the first scene, while impending uncertainty seems to linger. At the entrance of Musetta announcing Mimì’s weakened state the voice of Reyes etches out the seriousness they all face. In response Mr. Chen’s aria for Colline, “Vecchia zimara” [“Dear old coat”], is delivered with haunting resonance and accomplished legato. With the realization of Mimì’s death Pati expresses in his final pitches both pain and acceptance, as though their resolve from the preceding act has indeed come to its close.
Salvatore Calomino
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Top image: The Company of La Boheme. Photo by Michael Brosilow.