CHICAGO—Those familiar with the movie “Moonstruck” (1987) will recognize that the glorious music of the opera “La Bohème,” by Italian composer Giacomo Puccini (1858–1924), was the delicious musical score that wafted throughout the film. Those who have never seen the movie or have never been to the opera might want to know what the “La Bohème” fuss is all about. They, as well as opera aficionados—who can’t get enough of the most spine-chilling, haunting music ever created—will find the “La Bohème,” now playing at the Lyric Opera of Chicago, an experience they will treasure.
The new-to-Chicago production, a revival of the 1993 Los Angeles production by Herbert Ross, is now in a triumphant presentation at the Lyric. It’s as good a reincarnation of the captivating masterpiece as one is likely to experience. Indeed, from romance to tragedy to glorious music to exceptional performances, this production has everything going for it.
A Love Affair in Paris
Set in the Latin Quarter of Paris in the 19th-century Belle Epoque, the opera centers on the love affair of Rodolfo and Mimi. It explores themes of good versus evil, the hardships of poverty and illness, the importance of friendship and love, and the fleeting nature of happiness.
The first hint that the opera will be spectacular is Gerard Howland’s dazzling set design of a Parisian garret, where the action moves from inside a small attic apartment to the rooftop of a building. It makes for some stunning imagery as Rodolfo and Mimi sing against a backdrop of the construction of the Eiffel Tower, of the Parisian city landscape, and a spectacular full moon. The Eiffel Tower was built for the World’s Fair in 1889, so seeing it in the background is very effective in evoking the time period.
As directed by Melanie Bacaling in her Lyric debut, the opera has a very strong dramatic emphasis on the exuberant emotions and exciting time of that artistic era in Paris. The Latin Quarter landscape overflows with colorful images of city life, which offer scenes of crowds, shoppers, street vendors, diners, and even a marching band—all of which contrast with the poverty and squalor of the bohemian garret.
The opera soars though because of its extraordinary ensemble. Soprano Ailyn Pérez demonstrates wonderful depth as Mimi, especially when she sings “Si, mi chiamano Mimi” and “Donde lieta usci.” In the role of Rodolfo, Pene Pati stands out with a velvety tenor, when he hits the high C in “Che gelida manina.” Pati and Pérez are compelling together as the doomed lovers. What makes their duets especially riveting is the palpable chemistry between them.
Furthermore, soprano Gabriella Reyes does a great job as the frivolous party girl Musetta, who sings a lovely “Quando m’en vo.” Will Liverman as Rodolfo’s best friend Marcello, comes through with a wonderful baritone. Peixin Chen is powerful as Colline, delivering a strong bass with “Vecchia zimarra, senti.” In addition, in a highlight performance, baritone Ian Rucker makes for a charismatic and golden-voiced Schaunard.
Finally, and of the greatest importance, is conductor Jordan de Souza leading the Lyric Opera Orchestra to perfection with Puccini’s heavenly musical score. Kudos also go to the more than 20 youngsters in Uniting Voices Chicago, formerly Chicago Children’s Chorus.
The crucial test for a great musical production comes at its end when one is walking out of the auditorium. If the music was remarkable, it will reverberate in one’s head long after one has left the theater. If not, everything will be forgotten on the way home. “La Bohème” passed with flying colors. The glorious Puccini music stayed with me for days on end.
