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By the time Puccini and his librettists got around to translating Henri Murger’s episodic 1849 novel Scenes De La Bohème into the 1896 opera La Bohème, it had already enjoyed a considerable European vogue, so it’s not surprising that La Bohème has gone on to become a favorite of opera companies around the world. Opera Theatre of St. Louis is no exception; the current production, running through June 23rd, is the third one in their 26-year history. It may also be one of the best, with a strong, credible cast, brisk pacing, and solid orchestral backing by members of the St. Louis Symphony under the baton of Frederico Cortese in his OTSL debut.
Tenor Gerard Powers, looking a bit like the young Paul McCartney, is believably passionate and angst-ridden as the poet Rudolfo. He’s well matched by Pamela Armstrong as the seamstress Mimi. While a bit too healthy-looking for the frail, consumptive heroine Puccini had in mind, Anderson nevertheless sings and acts the role so sincerely that she actually does seem to be wasting away before your eyes.
Lester Lynch brings a powerful baritone to the role of the painter Marcello, locked in a roller-coaster affair with Musetta – she of the Relaxed Virtue – a role sung with great flair by soprano Yali-Marie Williams. Lynch and Williams manage to make both the comic and melancholy aspects of the Marcello – Musetta affair work, which is a strong testimony to both their musical and dramatic skills.
There’s strong supporting work here as well from Kyle Ketelsen as the philosopher Colline and Marcus DeLoach as the musician Schaunard, and a special tip of the critical beret is due to bass-baritone Terry Hodges for two brilliant comic turns as the befuddled landlord Benoit and the hapless sugar daddy Alcindoro, who is not only dumped by Musetta for Marcello but gets stuck with the bill as well.
Nothing’s perfect, of course, so I should mention that Puccini’s brilliant large ensemble scenes, such as the Act II Café Momus sequence, were mostly unintelligible to me and individual singers were occasionally overwhelmed by the orchestra. I also think that substituting descriptive passages from Murger’s novel for a plot synopsis in the program is not the best practice. La Bohème may be familiar ground for regular opera patrons, but it’s also good start for those just getting to know the genre, and for them the guidance of a capsule story line would be very beneficial.
On the whole, though, this is a stunning and compelling Bohème and anyone who can get through the last act without at least a lump in the throat is made of colder stuff than your truly. Performances will continue through June 23rd at the Loretto-Hilton center on the Webster University campus. Call 314-961-0944 for ticket information.
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