Show reviewed:  La Boheme Misic by Giacomo Puccini to a libretto by Giuseppe Giacosa and Luigi Illica

Date saw the show:  September 21, 2008
Place saw the show:  Kansas City, Missouri
Company: Lyric Opera of Kansas City
Principal Leads:  Daniel Belcher, Michael Fabiano, Alyson Cambridge, Katrina Thurman
Stage Director: Ellen Douglas Schlaefer

Conductor:  Ward Holmquist

Reviewed by:  Deborah Ground Buckner (Kansas City Correspondent – USA)

The Lyric Opera of Kansas City opened its 50^th season with Puccini's La Boheme, the operatic treatment of Henri Muger's book Scenes de la vie de Boheme.  The timeless story of poor, young students and artists struggling to find love as they make their way in the world is fresh and bright in this telling.

The curtain opens to reveal the meager living quarters of artist Marcello (Daniel Belcher) and poet Rodolfo (Michael Fabiano), struggling to generate heat by burning the pages of Rodolfo's latest work.  They are soon joined by comrades Colline, a philosopher (Matthew Trevino) and Schaunard, a musician (Jonathan Stinson), bringing food and money.  Not enough, of course, for the landlord, Benoit (Andrew Harris) who is quickly driven away.  The friends agree to meet at a cafe, but Rodolfo stays behind to finish a writing project.  Enter Mimi (Alyson Cambridge), asking for help because her candle has gone out.  The two instantly fall in love, and the audience soars along with them as they sing "O soave fanciulla — Oh gentle maiden"). 

There is a brief pause for a set change, and the audience broke into applause as the curtain rose to reveal the streets of Paris at Christmas time.  Colorfully clad shoppers stop to look at dazzling windows, children throng to admire the works of Parpignol, the toyman (Kevin Westring), and the friends gather at the cafe.  The boys quickly welcome Mimi as part of their gathering, but the happy mood of the occasion darkens when Marcello's former love Musetta (Katrina Thurman) enters with a new, and elderly, gentleman companion, Alcindoro (Andrew Harris).  Thurman and Belcher are great fun throughout this scene, each smoldering with jealousy and desire, and each determined not to reveal it.  Thurman plays well the part of the Parisian fashion plate, enjoying the attentive stares of the crowd and hoping to attract the one pair of eyes determined not to be seen watching her.  Demanding his notice, she sings Quando me'n vo  — When I go along,” then complains of a tight shoe and sends Alcindoro away to have it repaired.  The passion flies as Marcello and Musetta are reunited, joining in the company of friends and sticking Alcindoro with the check.

The mood changes as the scene becomes one of the Gates of Paris on a cold winter morning, snow falling.  Belcher's Marcello reveals a sensitivity and compassion as Mimi approaches to tell him she must break away from Rodolfo and his jealousy.  Belcher clearly shows the dilemma of being caught in the middle of a lovers' quarrel as he next encounters Rodolfo telling him he, too, wants to end his relationship, but because he fears Mimi is in poor health and he cannot provide for her.  As Mimi and Rodolfo reunite, they acknowledge the end of their love, but pledge to stay together through the winter.  Marcello, everyone's friend, suddenly becomes part of a violent quarrel with Musetta and finds himself alone once again.

At the beginning of the final act while Marcello and Rodolfo pretend to work while mourning their lost loves.  A much needed bit of fun comes with the arrival of Colline and Schaunard, once again, bringing food.  There is clever staging of the friends breaking into dance (a quick game of rock, paper, scissors determines who must don a skirt), but when the dance erupts into mock duels, it is hard to believe young, starving men would throw hunks of bread at each other and then trample what seems to be to only food in the dwelling.  I also could have done without the silly business involving a chamber pot. 

The lightheartedness soon comes to a halt with the arrival of Musetta reporting Mimi is downstairs, too weak to climb the stairs.  The bonds of friendship prevail as Musetta quickly sells her earrings and Colline his overcoat so they can pay for a doctor and medicine for Mimi.  Left alone, Rodolfo and Mimi recall their lost love, their duet Sono andati? – Have they gone?" ringing with emotion.  As the friends return, their help too late, the emotion is heavy, somber, and quiet.  Puccini reveals the sensibility of a true master, not only providing beautiful music throughout the work, but also allowing his characters to grieve quietly, without bursting into song about their dead friend as happens in so many operas. 

Cambridge and Fabiano are loving as Mimi and Rodolfo, but equally earning the spotlight are Belcher and Thurman, as Marcello and Musetta, truly the “Benedick and Beatrice” of this work.  They sparkle in their scenes together, truly capturing the passion of this tempestuous relationship.  But the greatest praise must go to Set Designer R Keith Brumely, for fully taking the audience to a cluttered apartment and the spectacular streets of Paris.