The Bohemian spirit is once again on display. The Santa Fe Opera brings to the stage the travails of half a dozen young rebels living and loving at the turn of the last century in Paris, in the form of “La Boheme,” Puccini’s most often-performed opera.
This highly animated and often boisterous production reprises the set from 2007, where a huge center divider opens efficiently into the garret apartment in the Latin Quarter. The comedy of the first act bristles with the eager anticipation of young artists seizing ironic moments in their temporary life in poverty, but hoping ultimately for their day in the sun. The joie de vivre is only momentarily broken by the capitalist landlord (Thomas Hammons), who then becomes the natural butt of the jokes.
Ana María Martinez is an excellent dramatic soprano, her voice engagingly rich and dynamic. She sings bursting with a love of life, perhaps even more than needed for the tuberculosis-ridden Mimi (but no complaint on that score.) This is no passive victim.
Heidi Stober, so very impressive as Folly in the outrageously funny production of Plateé a few years ago, returns as the coquette Musetta. Teasingly provocative and glowing with sensually suggestive horseplay, she gives a stunning account of the famous Act Two melody Quando me’n vo’soletta (As I walk alone through the streets). The crowd scene fills the stage with dozens of small personal scenes each working together to create a delightful melée of the human experience in toto, particularly on this auspicious Christmas Eve.
Markus Beam as Schaunard the musician, a last-minute replacement, crackles with chipper animation bringing the character fully into 21st century sensibilities.
The many ups and downs of the passionate painter Marcello are beautifully nuanced by baritone Corey McKern, from his playful antics in the garret to his self-induced agony over what he perceives to be Musetta’s unfaithfulness.
We don’t hear too much from Colline the philosopher until the final act, when Christian Van Horn’s startlingly sonorous bass-baritone laments the imminent loss of his old greatcoat (Vecchia zimara, senti). More from this singer, please.
Unfortunately, the weak link in the chain here is David Lomelí as Rudolfo. While his voice is equal to the many demands of the role (no small feat), at that level there is nothing exceptional. His stage movement is rather bearish. Consequently, no romantic chemistry with Mimi ever manifests.
Still, this production generally abounds in a youthful energy, matched by the excellent SFO orchestra under the skillful direction of Leonardo Vordoni.
— This article appeared on page F2 of the Albuquerque Journal
