LaBohemeCGO - Page: 1 of 1

Reviewed By: Paul Joseph Walkowski
OperaOnline.us
Regardless of the number of times one sees Puccini’s “La Bohème” there is always something new to see when it is performed by different companies, and last night’s production of “La Bohème” by Connecticut Grand Opera & Orchestra of this classic favorite proved no exception. It was wonderful, colorful and rich in sounds and orchestration – a clear success by any standard.
One of the advantages of a smaller theater like the Palace is that when the orchestra is on its mark the hall fills with deep, rich melody that resonates throughout. And when the orchestra is comprised of some fifty pieces, as it was last evening, the richness of sound is even greater. Kudos to Maestro Gilgore for bringing this out in the orchestra which was clearly involved in the emotionalism of the score.
Adding to the evening’s enjoyment was an ambitious and large cast of some fifty members from the CGO&O chorus and Julian Curtis Choraleers. The entire production was well directed by Joachim Schamberger. In every scene where more than the principle singers were on stage, Mr. Schamberger had supernumeraries both well-placed and engaged in activity that was natural to the scene. Example: outside the Café Momus immediately after the major arias were completed, the cast dispersed to different parts of the stage and engaged in activity – just as you would see on any street scene: some dined, others talked, still others with children played in the background. None took away from the activity of the main characters but rather enhanced their surroundings to make the scene more real.
I would also be remiss if I didn’t comment on how in the third act the falling snow was used liberally to enhance the moment and give the scene a true sense of a cold, wintry outdoors evening. Very, very nicely done and duly noted by an appreciative audience.
Keen stage direction gave these and other scenes a sense of realism that was clearly noticed and applauded on two such occasions.
Commensurate with the high level of directing for this production was the set design and scenery (scrims and painted scenic curtains) provided by Stivanello Costumes Co. Inc., designed originally by Sormani and costumes by Vicki Davis. While I usually disfavor curtain scenery, when done right, it can be effective, and last night, with a few small exceptions where the curtains were not pulled tightly enough and where one singer in particular bumped into the sets on two occasions causing the walls of flutter, the scenery here was very effective. Indeed, in one instance a 3D effect was employed that made the entire stage seem larger than it was. I am referring to the Café Momus scene, where a background side street scene was used effectively to create a sense of depth. Nice touch!
The lighting by Steve Brady was effective and used well throughout most of the production. The lighting outside the gates of the city in the snow scene in the third act was particularly effective, as was his reduced lighting in the first act where Mimi and Rodolfo were first introduced. I only wish he took advantage of the opportunity to use more backlighting to create mood. There were some great opportunities, such as the use of lighting behind the large attic apartment window that dominated the scenery in the first act. Still, overall the lighting was a plus and contributed every bit as much as the cast to creating the mood of this melancholy opera.
Speaking of the cast:
Patricia Johnson’s Mimi was captivating in every way, her voice was delicate and clear and her acting was superb, giving her Mimi both a sense of vulnerability and strength that is the dual nature of this character. Her final scene was quite moving, particularly the way her head and arms seemed to hang lifeless when Rodolfo lifted and cradled her in his arms. There were many tears being brushed aside when the curtain fell. Brava!
Matching Ms. Johnson’s fine performance was the equally strong performance of Caroline Worra who sang the role of the bawdy, saucy, sexy Musetta. This is a role that just can’t be overdone; as a matter of fact when compared with how the role used to be sung, I much prefer the flash-of-flesh way contemporary singers (who are much younger and thinner than days of old) sing and act it. Ms. Johnson’s Quando me’n vo’ was saucy, flirtatious, fun and sung with just the right mixture of sass and feigned coyness to make it a truly standout performance, deserving of the wild applause it received.
On the male side, Dinyar Vania’s Rodolfo gave a truly powerhouse performance, but not so much so that it became a caricature. His was a restrained portrayal that captured both the passion and sense of excitement of his character, wrapping it up in an understated performance that struck a chord and clearly drew the audience into the loss he felt at the end as he embraced his Mimi for the last time. Bravo.
Charles Temkey as the philosopher Colline and Robert Weintraub as the musician Schaunard each gave strong accountings of themselves as singers and performers and contributed to the overall pleasant and familial friendships of their characters, making this a fine ensemble effort all around. And we tip our hats to Carlos Conde for a fine job as the landlord Benoit and as Musetta’s “older” friend Alcindoro. Nicely done!
Lastly, as noted earlier, the large cast of extras in the nature of the opera chorus and choraleers did a remarkable job in blending in and making the busier scenes natural to the eye and a pleasant vocal experience. We tip the hat to chorus master Carole Ann Maxwell and children’s chorus director Lynn Arndt for making it work as well as it did.
It is a shame this fine production ran only one performance. It had a lot to offer as a work of visual art and vocal excellence. Connecticut Grand Opera & Orchestra delivered again, and gave the audience a “La Bohème” worth remembering for its sheer emotional draw, its appealing visual sets and outstanding singing performances from a cast that was well-chosen and well-suited to the task at hand.

Conductor, Laurence Gilgore
Director, Joachim Schamber
Lighting, Steve Brady
Scenery, Sormani
Costumes, Vicki Davis