Music
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The direction, both musical (Jonathan Darlington was back as conductor in fine form and to warm applause) and dramatic, echoes the rhythms of consumption – at times feverishly manic, at others languid and depressed.
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In this double cast production, the role of Rodolfo alternates between Matthew White – who played Don José in Vancouver Opera’s 2024 production of Carmen (April 25, 30, May 2) and Zachary Rioux (April 26, May 3) and Mimi is played by Jonelle Sills (April 25, 30, May 2) and Lucia Cesaroni (April 26, May 3).
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On opening night, the first scene of Marcello (well played by Gregory Dahl) and Rodolfo at work in their freezing garret, was almost stolen by Dahl, whose buoyant baritone and stage presence threatened to overwhelm a more timid White, who seemed vocally strained and dramatically limp. But he came into his own when he met up with Jonelle Sills’ ravishing Mimi, the seamstress neighbour who knocks on his door hoping to light her candle, and their duet O Soavae Fanciulla was memorable.
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Sills – a 2022 alumnae of Vancouver Opera’s Yulanda M.Faris’ Young Artists Program who debuted as Mimi in 2023 for the Canadian Opera Company, brings warmth, grace and a rich, at times thrilling soprano to her role. She is equally at ease with Mimi’s high notes – musically and dramatically – as well as the subtle flourishes of the final scene.
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Lara Ciekiewicz’s Musetta was dramatically strong – alternating between the over-the-top coquette in the Momus Café scene of Act 1 to the compassionate friend in the final scene and she was well paired with Dahl in their fiery duets.
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Indeed, the Momus Café scene is a highlight – with a rollicking opera chorus and delightful children’s chorus out in full force, evoking an imagined Paris (Puccini had never been to the city of lights when he wrote La Bohème) on Christmas Eve. Scene stealers included Lyndon Ladeur as Parpignol, the toymaker and Thomas Goerz (who also plays a comical Benoit – the landlord – in the first scene) as Musetta’s put upon sugar daddy Alcindoro.
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The act 3 duet Donde lieta uscì between White and Jonelle, when they agree to stay together until spring time and then part, was genuinely moving and the raucous back and forth between a spit fire Musetta and a jealous Marcello was equally strong as a passionate counterpoint to la tendresse of Mimi and Rodolfo as the four characters join together in a quartet, Addio dolce svegliare alla mattina.
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While the final scene in the garret, as Mimi lies dying of consumption and tells Rodolfo that her love for him is her whole life in the aria/duet, Sono andati was poignant and beautifully sung, and Colline’s (Alex Halliday’s) paean to his soon to be pawned overcoat Vecchia zimarra heartfelt, it felt almost underplayed.
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But perhaps this was a deliberate technique to offer the audience time to reflect on the roller coaster of romance and reality that is the artist’s life.
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