All photos: Gabriela Harvey
The January 2015 woes at
the Metropolitan included a problem with the changing of the set after Act I in
Puccini’s La Bohème on January 15th, a postponed premiere of Tchaikovsky's Iolanta and
Bartok's Bluebeard's Castle,
canceled because of an impending nor'easter on January 26th,
and an on stage protest of Putin's policies in Ukraine and the annexation of
Crimea. The latter, while the entire company was taking its well deserved
bows after Iolanta’s premiere on the
29th.
To be honest I wasn’t
going to see “La Bohème”
this time around. Unlike many, I am not a fan of Zeffirelli’s production. I
find it visually too dark and irritating when Musetta’s quirky behavior
(kissing a stranger) interferes with the Mimi and Rodolfo anguish (Act II).
Also too crowded at the café, where the principals are often lost in the crowd.
Thank goodness for Musetta and her red dress!
But how could I not
go and hear Ms. Opolais live and then there was Mariusz Kwiecien (I was invited
backstage on the 19th…Thank you Berta!) ! The loss would have been
mine…
I first went on the
15th, again on the 19th, and then there was the radio
broadcast on the 24th.
Among the soloists, without
a doubt the Polish baritone Mariusz Kwiecien was the star of all three
performances! Jealous,tempestuous, virile, and crazy in love when he
quarrels fiercely with Musetta in acts one and two. He swaggers, threatens, and
brawls. Given all that, he shows his wistful side in the third act in his duet
with Rodolfo “O Mimì tu più non torni”. Vocally he was “on top of his game.” As
Marcello, he wasn’t just good, he was phenomenal! Glad to hear he is not about
to give up the role. (I look forward to hearing him again on March 7th,
in a concert version of Karol Szymanowski’s ‘King Roger” with The Boston
Symphony Orchestra, where Ms. Opolaise’s husband Andris Nelsons is
the Music Director.)
Kristine Opolais returned
as Mimi in “La Bohème.”
This after her April 2014 performance, when Opolais made history at the
Metropolitan Opera, making two role debuts within 18 hours. She gave a scheduled
performance in “Madama Butterfly,” only to step in for a matinee performance of
“La Bohème” the next day. The other
wrinkle…. the performance was the HD cinema broadcast heard around the world.
Opolais impressed listeners the world over, her performance earning critical
acclaim.
On the first night, some of her singing was quivering and
colorless, coming through as lifeless, spiritless. Then again, as Ms. Opolais
explained hers is a Mimi, who knows she is dying. She reminded me of a ghost. I
think her tendency to go sharp that evening was no doubt an effort to compete
with the orchestra conductor's lack of consideration, forcing the singers to
“ride” the orchestra (something I might add Mr. Borras successfully, ignored).
She was wonderful in the last act, her interpretation wrenching and the
chemistry between the two obvious. All laced with sadness!
Starring as her lover
Rodolfo was the French tenor Jean-François Borras. Borras has a lovely
voice but lacked top notes, particularly in the first act of the January 15th,
performance. He recovered nicely as the night wore on. His duet with Marcello
in Act III, "O Mimi, tu piu non torni,” was one of the evening’s
highlights. He grew stronger with each performance.
Latvian
soprano Marina Rebeka soared as Musetta! Ms. Rebeka controlled the
(too crowded) setting of the Café Momus , really shining in the familiar
“Musetta’s Waltz” ("Quando men vo" ).
Her querulous
relationship with Marcello showcased outside the inn in Place d'Enfer (“Strega” he calls her…), where Mimi comes (staggering
down a staircase) looking for Rodolfo, amused us throughout! We are happy to
see them “make peace” at the end, knowing theirs will always be a tempestuous
relationship.
Alessio Arduini
(Schaunard) and David Soar (Colline) gave more than credible vocal performances
often competing with the conductor's drowning some of their lines; they were
charming during their antics both in their studio-attic and at the Cafe Momus.
These comments apply
largely to the performance of January 15th. The long unintended
intermission and the additional intermission time impacted much of the mood of
the evening, and no doubt the singers performance. It was a long evening.
Things were much better the second time around. Mariusz Kwiecien continued to
“wow”, as did Ms. Rebeka. Mr. Borras and Ms. Opolais were good together,
making us weep every time…of the three performances I think the broadcast was
the best. You be the judge….
The Metropolitan Opera’s production of “La
Bohème”
January 2015
Cast
Conductor: Riccardo
Frizza
Mimi: Kristine Opolais
Musetta: Marina Rebeka
Rodolfo: Jean-François
Borras
Marcello: Mariusz
Kwiecien
Schaunard: Alessio
Arduini
Colline: David Soar
Benoit/Alcindoro: John Del
Carlo
Production Team
Production: Franco Zeffirelli
Set
Designer: Franco Zeffirelli
Costume
Designer: Peter J. Hall
Lighting
Designer: Gil Wechsler
Tchaikovsky's Iolanta and
Bartok's Bluebeard's Castle
soon…..
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