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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 \u2013 at times feverishly manic, at others languid and depressed.<\/p>\n<\/section>\n Article content<\/p>\n Article content<\/p>\n In this double cast production, the role of Rodolfo alternates between Matthew White \u2013 who played Don Jos\u00e9 in Vancouver Opera\u2019s 2024 production of Carmen<\/em> (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).<\/p>\n<\/section>\n Article content<\/p>\n 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\u2019 ravishing Mimi, the seamstress neighbour who knocks on his door hoping to light her candle, and their duet O Soavae Fanciulla<\/i> was memorable.<\/p>\n<\/section>\n Article content<\/p>\n Sills \u2013 a 2022 alumnae of Vancouver Opera\u2019s Yulanda M.Faris\u2019 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\u2019s high notes \u2013 musically and dramatically \u2013 as well as the subtle flourishes of the final scene.<\/p>\n<\/section>\n Article content<\/p>\n<\/section>\n Article content<\/p>\n Lara Ciekiewicz\u2019s Musetta was dramatically strong \u2013 alternating between the over-the-top coquette in the Momus Caf\u00e9 scene of Act 1 to the compassionate friend in the final scene and she was well paired with Dahl in their fiery duets.<\/p>\n<\/section>\n Article content<\/p>\n Article content<\/p>\n Indeed, the Momus Caf\u00e9 scene is a highlight \u2013 with a rollicking opera chorus and delightful children\u2019s chorus out in full force, evoking an imagined Paris (Puccini had never been to the city of lights when he wrote La Boh\u00e8me<\/em>) on Christmas Eve. Scene stealers included Lyndon Ladeur as Parpignol, the toymaker and Thomas Goerz (who also plays a comical Benoit \u2013 the landlord \u2013 in the first scene) as Musetta\u2019s put upon sugar daddy Alcindoro.<\/p>\n<\/section>\n Article content<\/p>\n The act 3 duet Donde lieta usc\u00ec<\/i> 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<\/i> of Mimi and Rodolfo as the four characters join together in a quartet, Addio dolce svegliare alla mattina.<\/i><\/p>\n<\/section>\n Article content<\/p>\n While the final scene in the garret, as Mimi lies dying of consumption\u00a0and tells Rodolfo that her love for him is her whole life in the aria\/duet, Sono andati <\/i> was poignant and beautifully sung, and Colline\u2019s (Alex Halliday\u2019s) paean to his soon to be pawned overcoat Vecchia zimarra<\/i> heartfelt, it felt almost underplayed.<\/p>\n<\/section>\n Article content<\/p>\n![\"music](\"https:\/\/smartcdn.gprod.postmedia.digital\/nationalpost\/wp-content\/uploads\/2026\/04\/La-Bohe\u0300me-1.jpg?quality=90&strip=all&w=288&sig=O3vLDOQZf9EsDE4HoM4hIQ\")
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