Light & Lively, Pittsburgh Opera’s ‘La Bohème’ Has No Match

The tradition of operatic story-telling most often centers around a romantic relationship, one commonly tested by external forces like a jealous magistrate, a vengeful ex-lover or even a deep, dark secret which rises from the past to exact karma. La Bohème eschews that formula. Here, set in the Latin Quarter of Paris, poor, starving artists hope for prosperity and joy despite all inherent odds. Indeed, for a few, short months, Rodolfo and Mimi share a love that is tested only by their own character. This is all one needs to know—it’s all that matters—to enjoy this classic story.

But that’s no easy feat to pull off on stage. Giacomo Puccini and his librettists Luigi Illica and Giuseppe Giacosa created for themselves, by addressing this simple story of love, a nearly insurmountable hurdle to convince audiences that love can be pure and true. The story would never work if Rodolfo were to see his beautiful and mysterious Mimi from across a crowded room and instantly fall in love. Nor would the story succeed if Mimi were to witness Rodolfo as a dashing soldier, say, who saves an innocent life from the perils of war, or injustice, or abuse. The two lead characters, both starving artists whose everyday challenge is just to survive, must fall deeply in love.

And, so, the story begins: Rodolfo, a poet, and Marcello, a painter, share an artist’s loft when friends Colline and Schaunard surprise them with firewood and bottles of wine on Christmas Eve. Schaunard, a musician, has earned some money; he invites his three buddies to dine at the Cafe Momus to celebrate. Promising to come along soon, Rodolfo stays to finish writing a poem. That’s when he hears a knock on the door. Mimi, who sews fake flowers a few flights down, has no matches to relight her one candle. Rodolfo obliges, but in the dark, Mimi loses her room key, and the two must search the floor where it’s dropped. Their hands meet. Hers are cold. Rodolfo warms them. In gratitude, Mimi warms his soul. Puccini’s accompanying duet gives rise to the moment as the impoverished poet speaks truth, this fabric florist speaks of beauty, and love is given life by a simple act of kindness. This is the very heart of La Bohème. Kindness begets joy which gives us hope.

Vuvu Mpofu’s Mimi is all-in-one a lost soul whose spirit is sparked by a single match. Her exceptional soprano has depth and gravitas which she uses to masterful and emotional effect. South African by birth and education, she appeared in last season’s La Traviata and absolutely carried the show. Her appearance with the Pittsburgh Opera, in this their 87th year, was a decided choice, especially as she was chosen to open the season. Likewise, Daniel O’Hearn, an alumnus of the Pittsburgh Opera’s resident company (last seen here in The Flying Dutchman), is a remarkable tenor who carries himself with the confidence and stage presence of an artist having many more years of experience than this young Chicagoan could possibly own. He delivers a delightfully young Rodolfo, too, able to jump around in mock combat with his Bohemian mates. Zachary Nelson plays Marcello, the painter, who commands attention equal to that of Alan Williams’s Colline, the philosopher, or Erik Nordstrom as Schaunard. the musician. These “struggling artists” are in fact highly accomplished artists of the operatic stage.

But there’s more to behold. In her Pittsburgh Opera debut, Brittany Olivia Logan plays the feisty role of Musetta, the coquette who was once in love with Marcello (yet who may very well still be in love with him,) but who conspires with more wealthy gentlemen of the city. Logan is a force of nature. While Mpofu is worth any grand tier seat, Logan might warrant a front row perch. Her Musetta is both fetching and fiery, and she’s got the pipes to prove it, too. Other great stand-outs include Kevin Glavin as Benoit, the landlord who comes to collect the rent, but is showered by the kindness and flowing wine of Christmas Eve. Yet Glavin also stands out in a second role, that of Alcindoro the wealthy fool who Musetta is able to walk all over (spoiler alert: with and without shoes.) Finally, as is the custom at Pittsburgh Opera, no stage is ever lacking for bodies to fill it appropriately. In village scenes, the townsfolk come out in all sizes and ages, well rehearsed with great vocal harmony and a lot of energy. It’s always awe-inspiring to experience grand productions like this when the opera company doesn’t skimp on the extras. Pittsburgh Opera’s La Bohème is rife with talent throughout.

Nor does this production lack in stage design, costuming, lighting, and perhaps, most importantly, orchestration. Conductor Antony Walker commands a pit of some sixty or more musicians. In fact, it’s a pity that Puccini’s La Bohème has no overture or intermezzo. The masterful sets, which include an artist’s loft, a neighboring street, and a pub set outside the city gates are massive. They were designed by R. Keith Brumley originally for the Lyric Opera of Kansas City. Shared in like fashion are the costumes—bad pun aside, Musetta’s is stunning—which were created for the Utah Symphony/Utah Opera by Susan Memmott Allred.

Kristine McIntyre is the stage director whose choreography and blocking were wonderfully effective. Credit is also due to Marcus Dilliard for his lighting design which must cover the elements of night time and dawn on the streets of Paris. James Geier is the Wig and Make-up Designer. Cindy Knight managed the stage, Glenn Lewis assisted Conductor Walker, and Mark Trawka served as the Chorus Master. Light up your night by seeing this lively show.  

Photos by David Bachman Photography.

C. Prentiss Orr is a Pittsburgh-based writer who covers theater and other topics for Entertainment Central. He is the author of the books The Surveyor and the Silversmith and Pittsburgh Born, Pittsburgh Bred. Mike Vargo is an independent writer based in Pittsburgh.

Share on Social Media