Indianapolis Opera presents a crowd pleasing timeless La Boheme

Original 1896 La Boheme Poster

Presumably in a bid to attract younger audiences, Indianapolis Opera has advertised its current production of La Boheme by connecting this venerable classic to the hit Broadway musical Rent.  However, after experiencing last night’s superb opening night performance of Giacamo Puccini’s masterpiece, this reviewer regrets that such a marketing ploy is even necessary because La Boheme is not just an old chestnut. One of the most frequently performed operas internationally, it continues to hold its own as a romantic story of love, loss and friendship, which pierces the heart and touches the soul in a way the modern adaptation of this tragic tale never can or will.

 

Conducted by James Caraher and featuring the Indianapolis Chamber Orchestra, the Indianapolis Opera Chorus and the Indianapolis Children’s Choir, La Boheme played to a packed house at Clowes Memorial Hall. If the diverse audience’s enthusiastic response was any indication,  the performance was a huge success. Owing to the uniformly outstanding vocal and dramatic abilities of its stellar cast, Michael Ehrman’s effective stage direction, and the first rate quality of its production elements, Indianapolis Opera once again demonstrated its unmeasurable value to this community and reinforces why this art form deserves public support.

 

With music by Puccini and libretto by Luigi Illica and Giuseppe Giacosa, La Boheme (which premiered in 1896 in Turin, Italy and was conducted by the legendary Arturo Toscannini) is set in Paris in the period around 1830, in the Latin Quarter--- an enclave for artists and counter culture types. It tells the story of a Mimi, a seamstress and Rodolfo, a poet. Upon meeting, they fall madly in love instantaneously, but Rodolfo later wants to leave Mimi because he feels she is too flirtatious However, it just so happens that Mimi is seriously ill, causing Rodolfo to also experience deep guilt, since their relationship has exacerbated her failing health.   They reunite briefly right before Mimi dies. There is also a sub-plot involving yet another stormy relationship between Marcello, a painter and his on and off again, free spirited girlfriend, Musetta both of whom can't live or live without each other.

 

Capturing the essence of the flawed Mimi was internationally renewed soprano Maureen O’Flynn. Famous for the bel canto and coloratura roles she has sung, O’Flynn communicated the sweetness and vulnerability of her character exceedingly well and demonstrated acting skills which made Mimi’s death scene all the more tragic as a result.   With a lustrous voice which is warm and vibrant, tenor William Joyner was more than believable as Mimi’s sensitive, yet insecure, jealous lover. O’Flynn and Joyner’s interpretation of one of the most famous duets in the Italian opera repertory, O Soave Fanciullo, “Oh Gentle Maiden,” sung when their characters first meet, was impressive not only in its passionate delivery but also its emotional depth.

 

Laura Z. Pederson, another soprano, was nearly perfect as the spunky and independent Musetta, who is given to seeking the favors of rich older men. With a lyrical voice replete with texture,  O’Flynn infused her character with all the necessary wit, charm, and attitude required to stop the show as she did while singing Musetta’s Waltz, Quando me n’vo -“When I go Along,” in a very brazen attempt to make her lover Marcello jealous.   Playing the put upon Marcello masterfully was baritone Sean David Anderson (who played the same role in Buz Luhrman’s Tony Award winning 2002 Broadway production), a standout with a sensual voice rich in power and an acting and comedic prowess that matched that of the dynamic Pederson.

 

Among those believably portraying the camaraderie existing between Rudolpho, his flat mate Marcello and their coterie of artist friends,  was bass Gustave Andreassen, who played Colline, a philosopher. When Colline decides to pawn his overcoat so he can buy medicine for the dying Mimi, he sings Vacchia Zamara-“Old Coat,” a touching performance by Andreasson which conveyed the heart wrenching sadness, and poignancy of the moment.   Another was Schaunard, a musician, played by baritone Chad Reagan, who ably communicated his playful affection for Rodolfo and loyalty born from their friendship.

 

Rounding out the ensemble was the versatile Mark Gilgallon who played both Benoit the foolish landlord and Alcindoro, the clueless aging object of Mimi’s gold digging machinations. A true scene stealer was Rev. Michael Magiera, whose portrayal of Parpignol the toy vendor is memorable because of the animation and joy he brought to a small role he made bigger than life.   

 

Also deserving special recognition were members of the La Boheme chorus, particularly those from the Indianapolis Children’s Choir (under the direction of Henry Leck), who sang with energy, moved with enthusiasm,  and posed in interesting and entertaining tableaus created by stage director, Ehrman.   Lighting design by David Guano, costumes by Malabar Ltd. and sets provided by the New Orleans Opera Association completed a production where it appeared no expense was spared to provide the proper look, setting and mood for a high caliber such as this.

 

Performed in Italian with easy-to-read translations projected above the stage, La Boheme will be repeated tomorrow, Sunday, November 22 at 2:00 p.m. at Clowes Memorial Hall on the Campus of Butler University.  Tickets can be ordered by calling 317/239-1000 or online at www.indyopera.org or by visiting Clowes Memorial Hall box office. Adult tickets begin at $30. Special $10 tickets available for patrons under age 25, purchasable only at the Clowes box office, subject to availability.