 |
| Philip Skinner as Alcindoro, Kearstin Piper Brown as Mimi, and Melissa Sondhi as Musetta. Photo by David Allen. |
Opera San Jose
La Boheme
November 16, 2024
One thing that sets La Boheme apart is that its story is constructed from the lives of everyday people, people that could be your neighbors (in another century). That said, it’s really important to get the details right, and that’s precisely what OSJ’s current production does. Under stage director Michelle Cuizon, the opening night cast delivered a beautifully crafted performance, unleashing the emotional depths of one of opera’s most emotional creations.
The sense of ensemble was immediately apparent, with the four roommates of the Paris garret. The central duo of painter Marcello and poet Rodolfo were joined by the exuberant musician Schaunard (the affable, animated Jesus Vicente Murillo) and the more sincere, serious presence of the philosopher Colline (Younggwang Park). Another characteristic of Ilica and Giacosa’s libretto is that, as in real life, tragedy and merriment exist side-by-side, and so one of the most ultimately tragic operas actually contains a lot of fine comedy. This appears in the first act as the four roomies connive their landlord Benoit (the excellent Philip Skinner) out of the rent.
Once his friends have departed for Cafe Momus, Rodolfo receives a surprise, his upstairs neighbor Mimi, and thus begins the most musically astounding coffee date in history. WooYoung Yoon’s astounding lirico spinto tenor fills up the hall in the arch-like climaxes of “Che gelida manina.” He then says, Well that’s enough about me, how about you? Kearstin Piper Brown’s soprano is not quite as strong, but in “Mi chiamano Mimi” she displays a divine sense of phrasing, and her top notes are surprisingly powerful, enough to elicit tears as Mimi talks of being the first to see the Parisian sunset from her attic apartment.
When the roommates interrupt this flirtation (as guy friends do), they do it by clomping into the actual theater and addressing Rodolfo over the orchestra pit. It’s a delightful touch.
The cafe scene is about the best I’ve ever witnessed, filled with rowdy villagers and street performers. The children’s chorus is especially energetic as they greet the toymaker Parpignol (Eric Mellum), who is dressed in a dazzling harlequin outfit divided into contrasting quarters (costume designer Alina Bokovikova). Soprano Melissa Sondhi rolls in like a human tornado as Musetta, and charms everyone with the famous Waltz before ditching her patron Alcindoro (played as a human cartoon by Philip Skinner) and returning to her lover Marcello. The moment is a joyous, festive bedlam, complete with French flags.
The contrast of happy and sad continues with the tollgate scene, featuring the most charming of Kim A. Tolman’s sets, and real fake snow! The way that Puccini constructs the ultimate quartet - Mimi and Rodolfo reconfirming their love, Musetta and Marcello blowing theirs up in pugilistic style - is yet another sign of the astounding things that Puccini would achieve after Boheme.
There’s a definite type for Marcello, and baritone Kidon Choi fits it to a T: a bullish big brother, capable of great fits of temper as well as moving moments of compassion. Yet more touching details appear in Marcello and Rodolfo’s “lonely bachelors” duet, “Ah, Mimi, tu piu non torni.” At the end, Marcello reveals his new portrait of Musetta, Rodolfo displays the bonnet he bought for Mimi, and they exchange an embrace worthy of Joey and Chandler from Friends. Then they say “Ew!” and run quickly from their sincerity. A pure guy move.
With all these little touches piling up, the fourth act is even sadder than usual. Brown’s musical reminscences tread the fine line between good singing and also being deathly ill. The setup of the final tragedy is always excruciating, the news passed from one friend to another until it finally reaches Rodolfo. Yoon’s reaction is like a man possessed. As my friend Guitar George said, “Once I heard that voice of his, I knew that final ‘Mimi!’ was going to be heartbreaking.”
Through December 1, California Theater, 345 S. First Street, San Jose. $58-$215. 408/437-4450. www.operasj.org Mikayla Sager will sing Mimi 11/22 and 11/30.
Michael J. Vaughn is a forty-year opera critic and author of 29 novels. His latest, Punks for the Opera, is available at Amazon.com
