In a recent refurbishment at the Metropolitan Opera, sets for Franco Zeffirelli’s iconic 1981 production of Puccini’s “La Bohème” have been rebuilt, thanks to a generous million-dollar gift from a board member. Audiences attending this season’s performance of “La Bohème” will notice a fresher look to the sets, particularly the large snowdrift in Act III. Another noteworthy change in this production is the standout performance of baritone Sean Michael Plumb as Schaunard, whose assertive and stylish portrayal brings new life to this often overlooked character. Soprano Federica Lombardi’s performance as Mimì also stands out, as she portrays the character with a forthrightness and indignation rarely seen. With these updates, the refurbished production of “La Bohème” is poised to captivate audiences with its blend of classic beauty and fresh interpretations.
A Refurbished ‘Bohème’ at the Met
The Metropolitan Opera recently received a million-dollar gift from a board member, which was used to rebuild some of the sets for Franco Zeffirelli’s iconic 1981 production of Puccini’s “La Bohème”. One notable improvement was the snowdrift scene in Act III, which now looks more freshly fallen. However, the seam between the set piece and the stage floor was quite noticeable. Despite this, the overall refurbishment of the sets has breathed new life into this beloved opera.
Rebuilding Sets for Franco Zeffirelli’s ‘La Bohème’
The generous donation allowed the Metropolitan Opera to make significant improvements to the sets of Franco Zeffirelli’s production of “La Bohème”. One of the main focuses was the snowdrift scene in Act III, which plays a crucial role in setting the wintry atmosphere of the opera. The new snowdrift looks more realistic and freshly fallen, enhancing the visual experience for the audience. However, some technical issues with the seam between the set piece and the stage floor were apparent during the performance.
A million-dollar gift
The million-dollar gift from a board member not only facilitated the rebuilding of sets for “La Bohème,” but also symbolizes the importance of private philanthropy in supporting the arts. The Metropolitan Opera relies on the generosity of donors to maintain and enhance its productions. This donation will have a lasting impact on the quality of performances and the audience’s experience at the Met.
Improvements to the snowdrift scene
The snowdrift scene in Act III of “La Bohème” is a pivotal moment in the opera, depicting the harshness of winter in Paris. The new snowdrift, created with the help of the generous gift, captures the essence of freshly fallen snow, adding to the overall realism of the production. The visual impact of the scene is heightened, immersing the audience in the wintry setting and enhancing their emotional connection to the story.
The seam between set piece and stage floor
While the refurbished sets for “La Bohème” received much praise, there were some technical issues that need to be addressed. One such issue was the visible seam between the set piece and the stage floor. From the orchestra level, this seam was noticeably obvious and detracted slightly from the overall visual aesthetics of the production. However, it should be noted that these issues can be resolved, and the overall impact of the new sets is still impressive.
Focusing on Schaunard’s character
One of the standout performances in the refurbished production of “La Bohème” was that of Sean Michael Plumb, who portrayed Schaunard, one of the supporting characters in the opera. Plumb’s portrayal of Schaunard was assertive and stylish, bringing a refreshing energy to the character. Often overshadowed by the main protagonists, Plumb’s performance brought Schaunard to the forefront, showcasing the depth and complexity of this lesser-known character.
Federica Lombardi’s Impactful Mimì
Federica Lombardi’s portrayal of Mimì in “La Bohème” was characterized by her forthright and indignant interpretation of the role. Lombardi brought a unique perspective to Mimì, showcasing a strength and determination that is not often associated with the character. This portrayal added depth and complexity to Mimì’s journey, making her fatal Act IV more tender and poignant in comparison.
A forthright and indignant portrayal
Lombardi’s rendition of Mimì stood out for its forthrightness and indignation. She brought a sense of agency to the character, challenging the traditional portrayal of Mimì as a fragile and passive figure. This reinterpretation added a captivating layer to the opera, allowing the audience to see Mimì in a new light.
Comparison to the norm
Lombardi’s portrayal of Mimì can be seen as a departure from the norm, as she brings a strength and assertiveness to the character that is not typically associated with the role. This fresh interpretation adds depth and complexity to Mimì’s character, allowing for a more emotionally charged performance. Lombardi’s ability to challenge traditional expectations and breathe new life into the role is commendable.
Enhancing Act IV’s tender moments
Lombardi’s impactful portrayal of Mimì in Act IV created a more tender and poignant atmosphere. By infusing the character with a sense of indignant determination, Lombardi made Mimì’s tragic fate even more heartbreaking. The audience was able to feel a deeper sense of connection and empathy towards Mimì, making her final moments on stage truly impactful.
Impressive Performances from the Cast
The cast of the refurbished production of “La Bohème” delivered impressive performances that captivated the audience. Christian Van Horn’s resonant rendition of “Vecchia zimarra” showcased his vocal prowess and added depth to the character. Olga Kulchynska’s bright portrayal of Musetta brought a vibrant energy to the stage. While Matthew Polenzani’s performance as Rodolfo was mixed, his climactic moments were powerful, though he occasionally seemed faded.
Christian Van Horn’s resonant ‘Vecchia zimarra’
Christian Van Horn’s performance as Colline, the philosopher, was notable for his resonant rendition of the aria “Vecchia zimarra.” His rich and sonorous voice added depth and emotion to the character, capturing the audience’s attention and leaving a lasting impression. Van Horn’s performance showcased his vocal prowess and ability to breathe life into his roles.
Olga Kulchynska’s bright Musetta
Olga Kulchynska’s portrayal of Musetta was a highlight of the production. Her bright and energetic performance brought a vibrant energy to the stage, perfectly complementing the other characters. Kulchynska’s strong stage presence and powerful voice captivated the audience, making her portrayal of Musetta truly memorable.
Matthew Polenzani’s mixed performance as Rodolfo
Matthew Polenzani’s performance as Rodolfo, the male lead in “La Bohème,” had moments of brilliance, but also moments where his voice sounded faded and flat. While he showcased powerful climactic moments, there were instances where his voice lacked the vibrancy and energy needed to fully embody the character. Despite this, Polenzani’s performance still added depth and emotion to the production.
David Alden’s Staging of Verdi’s ‘Un Ballo in Maschera’
In addition to the refurbished production of “La Bohème,” the Metropolitan Opera also presented David Alden’s staging of Verdi’s “Un Ballo in Maschera.” The sets for this production remained unchanged, but the performances from the cast and the overall direction of the opera made it a memorable experience.
The unchanged sets
Unlike the sets for “La Bohème,” the sets for “Un Ballo in Maschera” remained unchanged. The decision to keep the sets the same allowed the audience to experience the opera as it was originally intended, without any major alterations. While the sets may have seemed shakily resistant to movement at times, they still provided a visually stunning backdrop for the opera.
Performance settling in as it progressed
The performance of “Un Ballo in Maschera” seemed to settle in as it progressed, with the cast finding their rhythm and fully embodying their characters. This gradual progression allowed the audience to become fully immersed in the opera, enhancing their emotional connection to the story. The performances became more nuanced and powerful as the opera unfolded, leaving a lasting impact on the audience.
Charles Castronovo’s evolving tone as Gustavo
One of the highlights of the performance was Charles Castronovo’s portrayal of Gustavo. His tone evolved throughout the opera, starting off pale and reserved, but gradually taking on more color, fullness, and freedom. This evolution in his vocal performance added depth to the character, allowing the audience to see Gustavo’s emotional journey unfold on stage.
Angela Meade’s memorable Amelia
Angela Meade’s performance as Amelia was a standout moment in the production. Her sound, initially cool and controlled, gradually became fuller and more inflamed as the opera progressed. This transformation captured the audience’s attention and created a sense of anticipation for each of her subsequent appearances on stage. Meade’s portrayal of Amelia was memorable, showcasing her versatility and vocal prowess.
Quinn Kelsey’s standout performance as Renato
Quinn Kelsey’s performance as Renato, Gustavo’s friend turned assassin, was a standout moment in the performance. Kelsey’s hulking and brooding presence on stage added depth to the character, making him instantly recognizable and captivating. His voice, with its unique combination of smokiness and smoothness, brought Renato to life, showcasing Kelsey’s talent and making his performance truly remarkable.
Highlights of the third act duets
The third act duets between Angela Meade and Quinn Kelsey were a highlight of the performance. Their back-to-back arias, “Morrò, ma prima in grazia” and “Eri tu,” showcased their vocal chemistry and emotional depth. The combination of Meade’s powerful yet controlled voice with Kelsey’s nuanced performance created a mesmerizing and unforgettable musical experience for the audience.
Other notable performances
In addition to the standout performances mentioned above, there were other notable performances throughout the production. Olesya Petrova’s steady and powerful portrayal of Ulrica added depth to the ensemble cast. Liv Redpath’s lucid and gentle performance as the sprightly page Oscar brought a touch of whimsy to the opera. These performances, along with the rest of the cast, contributed to the overall success of the production.
Carlo Rizzi’s conducting
Carlo Rizzi’s conducting of both “Un Ballo in Maschera” and “La Bohème” added another layer of excellence to the performances. His steady drive and sumptuous clarity brought out the best in the orchestration, creating a seamless musical experience. Rizzi’s expertise in conducting the Italian repertoire was evident throughout both operas, allowing the music to shine and complement the performances on stage.
Verdi’s ‘Ballo’: A Blend of Melodrama and High Spirits
Verdi’s “Un Ballo in Maschera” belongs to his middle period, in which he experimented with shades of emotional ambiguity and jarring juxtapositions of tone. This mixture of Italianate melodrama and champagne-bubbly French high spirits creates an excitingly volatile blend. David Alden’s stylized, largely grayscale Art Deco staging of the opera enhances these contrasts, while also presenting the possibility of Gustavo’s fever dream interpretation. However, the execution of these ideas is uneven, leaving some moments feeling awkward and disconnected.
Verdi’s experimentation in this middle period
During Verdi’s middle period, he strayed from his canonical trio of “Rigoletto,” “Il Trovatore,” and “La Traviata,” and before his late-stage epics “Don Carlos” and “Aida.” In this period, Verdi experimented with different shades of emotional ambiguity and juxtapositions of tone. “Un Ballo in Maschera” is a prime example of this experimentation, blending Italianate melodrama with French high spirits to create a unique and exciting operatic experience.
Alden’s stylized Art Deco staging
David Alden’s staging of “Un Ballo in Maschera” takes a stylized approach, incorporating elements of Art Deco design and a largely grayscale color palette. This aesthetic choice adds a distinct visual flair to the production, while also emphasizing the contrasts between the melodramatic and high-spirited moments of the opera. The staging creates a visually striking backdrop for the story, immersing the audience in Gustavo’s world.
Interpretation as Gustavo’s fever dream
Alden’s staging suggests that much of “Un Ballo in Maschera” is Gustavo’s fever dream or a fantasy. This interpretation adds an additional layer of complexity to the opera, blurring the lines between reality and imagination. The surreal elements and eerie elegance of some moments contribute to the dreamlike atmosphere, allowing the audience to question the boundaries of perception and truth within the opera.
Uneven execution of ideas
While Alden’s stylized staging has its merits, there are instances where the execution of the ideas falls short. Some moments feel awkward and disconnected, with the chorus milling around without clear direction. The many ideas present in the production don’t always fully gel together, leaving the audience with a sense of unevenness. Despite this, the overall impact of the staging and the performances of the cast make “Un Ballo in Maschera” a memorable experience.
Conclusion
The Metropolitan Opera’s refurbishment of Franco Zeffirelli’s production of “La Bohème” showcases the positive effects of private philanthropy on the performing arts. The rebuilt sets and enhancements to the snowdrift scene bring new life to the iconic opera. Federica Lombardi’s impactful portrayal of Mimì adds depth and complexity to the character, while impressive performances from the entire cast captivate the audience. In addition, David Alden’s staging of Verdi’s “Un Ballo in Maschera” offers a unique interpretation that blends melodrama and high spirits, albeit with uneven execution. The combination of these productions provides a diverse and memorable experience for opera enthusiasts at the Met.
