Jennifer Black, who made such an impression on everyone last year when she sang the role of Micaela in Carmen, returns here to sing Mimi. The voice is just as striking—-clear, bright and radiant with a beautifully focused tone. In her first act narrative at the words “Ma quando vien lo sgelo” the spring did indeed bloom forth with a burst of color. So too in the third act “Rodolfo m’ama e mi fugge” (Rudolfo loves me) came arresting tones both dulcet and impassioned.

Comedy has the upper hand in the first act until the two narrative arias from Rodolfo and Mimi. The melody of Rodolfo’s “Che gelida manina” (How cold is your little hand) is virtually synonymous with “opera.” Welsh tenor Gwyn Hughes Jones as the poet-lover sings the role emphatically with a sweet and seemingly effortless production. While not a huge voice, it has never a trace of harshness and the blend with Black in their duets is superb.

Despite the tragic ending there is plenty of humor in this production. The four artists all sharing a drafty garret sport with each other in barbed lampoons. Those familiar with the opera will know the jokes already, but there are plenty of original comic touches. As the landlord come to demand the rent, Timothy Nolen is hilarious as always. If there is a more comedic opera singer, I have yet to see him. Nolen’s humor is fully integrated into his singing making it fundamentally operatic. The irrepressible Wilbur Pauley appears as the wealthy politician Alcindoro, but plays the role more as a figure of fun than an object of pointed satire. Schaunard’s “ballet” (Markus Beam) and the mock sword fight in the final act are highlights of witty choreography.

The secondary couple, the painter Marcello (Corey McKern) and the singer Musetta (Nicole Cabell) with their explosive love affair provide clear counterpoint to Rodolfo and Mimi’s less public romance. Nowhere is this more clearly in evidence than in the third act quartet. Cabell succeeds is portraying Musetta as both coquettish, in her famous second act “Quando me’n vo’soletta” (As I walk through the streets), and ultimately caring as all eyes turn to Mimi in the final scene. Former SFO apprentice McKern effectively dominates the action as he must do in most of his scenes and his third act duet with Mimi conveys a wealth of emotion is a very short span.

Italian conductor Corrado Rovaris leads the excellent SFO Orchestra, and though somewhat overpowering the singers at times (none of them have enormous voices) keeps the action moving splendidly.

The sets are simple but ingeniously efficient, designed so that the first two and last two acts can be combined for a single intermission.

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