At his introductory remarks at the premiere of Opera in the Heights' new production of Giacomo Puccini's eternally fresh and evergreen opera masterpiece, La Bohème , artistic director and maestro Eiki Isomura said that he had recently been asked, Why Bohème again? “Because it's so good, and everyone loves it...
At his introductory remarks at the premiere of Opera in the Heights' new production of Giacomo Puccini's eternally fresh and evergreen opera masterpiece,Bohème.” He's absolutely right. And Opera in the Heights' production is very good indeed.
Based on Henri Murger's gritty newspaper serial and later novelization, Scenes de la Vie de Bohème, 1847-49, and expertly adapted by two of Italy's most famous duo librettists, Giacosa and Illica , we are no longer in the realm of fairy tale or high class drama. Opera in the Heights sets the story in '20s Paris, which does it no harm. Their last production of Bohème was placed in swinging '60s Paris during the hippie revolution, with an updated libretto that included “groovy,” “bad karma,” and “you're a downer.” It was a stunner.
Yu's voice, while hitting all the treacherous highs in the thrilling score, is a bit too small for Lambert Hall. He had to push it which made him sound a tad reedy and undernourished. He was an ardent lover and conveyed Rodofo's deep guilt when he can't bear Mimi's imminent death and wants to break off their relationship. Although he can't stand up to the force of Milanese's volcano, he blended well in their tender moments.
Opera In The Heights Eiki Isomura
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