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Return of an audience favourite Toronto
Four Seasons Centre for the Performing Arts
04/17/2009 - & 19, 25, 30 April, 4, 9, 12, 14, 17, 20, 22, 24 May
Giacomo Puccini: La Bohème
Frédérique Vézina (Mimi), David Pomeroy (Rodolfo), Anna Leese (Musetta), Michael Barrett (Marcello), Robert Gleadow (Colline), Jon-Paul Décosse/Peter McGillivray (Schaunard) Thomas Goerz (Benoît/Alcindoro), Parpignol (Michael Barrett), Jason Nedecky (Customs Officer), Bruce Schaef (Customs House Sergeant)
Canadian Opera Company Orchestra and Chorus, Sandra Horst (Chorus Master), Julian Kovatchev/Derek Bate (Conductors)
Maer Gronsdal Powell (Director), Wolfram Skalicki (Set Designer), Amrei Skalicki (Costume Designer), Stephen Ross (Lighting Designer)
D. Pomeroy & F. Vézina(© Michael Cooper)
This production of La Bohème dates from 1989 and this is its fifth appearance. We were promised a new production, based on tradition, but that never came to fruition. So this one, also traditional, with designs by the late Wolfram and Amrei Skalicki, has been hauled out of storage and brightened up with projections of Parisian street scenes in the backgound of Acts I, II and IV.
In the COC’e previous venue, the 3200-seat Hummingbird Centre, the designs rendered the work a dim and distant relic. Happily, in the right-size new theatre, the production comes into proper focus. If it stands accused of being conventional to a fault, the rear projections do give it a welcome vibrancy, as does its well-chosen cast.
The youthful cast presents a finely-rehearsed ensemble approach to the work. Each singer has the right quality of voice for the role - and what better opera is there for young voices?
Frédérique Vézina sang two lead roles with the company a few seasons back (Lisa in Queen of Spades and Ellen Orford in Peter Grimes) and was overparted on both occasions. Mimi is a role that fits her very well and, in fact, she is one of the most winsome of the numerous Mimis I have seen.
David Pomeroy is an ardent Rodolfo. He pushes his voice unnecessarily in the couple of places, however - opening night nerves perhaps? He certainly didn’t do that as Gounod’s Faust a couple of seasons ago. The final Amor at the end of Act I seemed truncated, though both singers were right on this ultra-exposed note.
Anna Leese, the only non-Canadian in the cast (she’s from New Zealand) fits right in as an attractive, bright-voiced Musetta. Peter Barrett as Marcello has a warm, healthy sound and it is great to see him being promoted to a leading role on the main stage.
Robert Gleadow contributes a kinetic stage presence as well as strong vocalism as Colline. He brings out an arresting bleak sound in his triste farewell to his cloak. Peter McGillivray (replacing Jon-Paul Décosse on opening night) goes all out in the too-brief role of Schaunard. Thomas Goerz makes the most of his two hapless characters, Benoît and Alicindoro.
Julian Kovatchev conducts with a judicious mix of ardour when required and languor when required. Orchestra and chorus sound just fine. (Derek Bate conducts May 4, 14, 17 and 22.)
A word about surtitles: La Bohème is a rather talky piece and I wouldn't want to see every word translated. However in other theatres I have seen split titles that give a sense of the byplay occurring between characters, as in Act III when Rodolfo and Mimi are reconciling stage right while Musetta and Marcello are splitting up stage left. The COC is proud at having devised titles and might well consider innovations.
The bohemian garret is appropriately shabby, the street scene is crowded and lively (acrobats!), a bit of snow falls in Act II. Director Maer Gronsdal Powell manages a look of spontaneity for the bohemian’s youthful pranks. It’s all there. If you think you have seen this production too many times and for some reason aren’t interested in seeing how well the current cast performs it, you might consider giving your ticket to a deserving opera novice who I am sure will be pleased with it.
All twelve performances are sold out. And why not!
Michael Johnson
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