{"id":94638,"date":"2024-12-06T09:21:17","date_gmt":"2024-12-06T14:21:17","guid":{"rendered":"https:\/\/operawire.com\/?p=94638"},"modified":"2024-12-06T09:21:17","modified_gmt":"2024-12-06T14:21:17","slug":"metropolitan-opera-2024-25-review-la-boheme","status":"publish","type":"post","link":"https:\/\/operawire.com\/metropolitan-opera-2024-25-review-la-boheme\/","title":{"rendered":"Metropolitan Opera 2024-25 Review: La Boh\u00e8me"},"content":{"rendered":"
(Photos: Marty Sohl \/ Met Opera)<\/span><\/h6>\n

The Metropolitan Opera\u2019s \u201cLa Boh\u00e8me\u201d celebrated a new season of success thanks to Kensho Watanabe at the podium and a stunning cast of favorites, including Ailyn P\u00e9rez, Dmytro Popov, Boris Pinkhasovich, Bogdan Talos, Emily Pogorelc, Gihoon Kim, and Donald Maxwell.<\/span><\/p>\n

Conductor Kensho Watanabe’s Midas Touch<\/h3>\n

Conductor Kensho Watanabe<\/a><\/span>, who made his Met debut with Kevin Puts\u2019s \u201cThe Hours\u201d in 2022, was the perfect choice for this production. As I noted about his performance of \u201cThe Hours<\/a>\u201d in May of this year, the same can be said about him for \u201cLa Boh\u00e8me:\u201d \u201cConductor Kensho Watanabe led the orchestra and cast members with effervescent amounts of grace and gratitude. Watanabe\u2019s natural gift of channeling Kevin Puts\u2019s music is astounding and it\u2019s no wonder he was at the podium again. The swelling emotional rollercoaster that drives this score was like a bloodline extending from Watanabe. There was no separating what he was doing from any part of this whole production, and his signature frequency carried through in development with every role and turning point of the synopsis. It\u2019s also important to note how Watanabe\u2019s intuitive ability to proactively extend his energy toward the singers made every entrance feel very aligned and actively engaged. This contributed greatly to the music\u2019s energy and never once did it feel like the opera was stagnating or losing momentum in its ability to freely flow.\u201d<\/span><\/p>\n

Watanabe continued to prioritize bringing the singers forward both musically and artistically in \u201cLa Boh\u00e8me.\u201d For example, in Act one when Dmytro Popov as Rodolfo began singing his aria, \u201cChe gelida manina,\u201d Watanabe stayed with Popov\u2019s every note, breath, and gesture. It felt like Watanabe was making music together with Popov and the orchestra as easily as he was breathing along with each phrase of Puccini\u2019s score. There was also a visible gentleness of his baton as he conducted, creating a thread of energy with Popov that connected back to his podium and exuded a profound level of awareness. The entire production felt magical because of his conducting \u2013 Watanabe\u2019s midas touch.<\/span><\/p>\n\"\"\n

Ailyn P\u00e9rez Raises the Bar<\/h3>\n

Soprano Ailyn P\u00e9rez<\/a> as Mim\u00ec<\/span> took my breath away from the moment she stepped onto the stage. This was my first time experiencing P\u00e9rez live and I felt so lucky to be witnessing her in this role. P\u00e9rez\u2019s voice is a brilliant instrument with crystalline high notes, an engaged and grounded middle range and a tonal palette of beautiful colors to express a range of emotions. Her presence is also one of greatness and gracefulness that elevates her performance\u2019s delivery and depth. Her eyes are full of joy when she sings, making even the most upsetting moments of Mim\u00ed\u2019s dying scene beautiful to watch.\u00a0<\/span><\/p>\n

P\u00e9rez is also an excellent collaborator. She made sure that every castmate was given the space and spotlight to shine, and she celebrated them along the way. Whether it was during Act two at Caf\u00e9 Momus or in Act four as she lay dying, P\u00e9rez intuited her performance to be inclusive and intelligent at the same time. She looked her castmates in the eyes, she sang every note with conviction, she gave it her all while additionally supporting her castmates\u2019 developing roles. This is the sign of a superstar and P\u00e9rez is absolutely one.<\/span><\/p>\n

Her arias, \u201cS\u00ec. Mi chiamano Mim\u00ec\u201d and \u201cDonde lieta usc\u00ec,\u201d revealed her voice\u2019s agility and warmth, making these arias sound original in her own voice. P\u00e9rez brought Mim\u00ed to life and to death in this production through not only the quality of her vocal technique, but most notably through the destiny I feel she has to fulfill in this lifetime. I am excited to see her in future performances and celebrate her as she already is \u2013 a superstar.<\/span><\/p>\n

Dmytro Popov’s Rising Star<\/h3>\n

Tenor Dmytro Popov<\/a> as Rodolfo<\/span> performed with promise and potential. I learned a lot while observing Popov\u2019s performance. For example, in the moments when he was actively engaged with Watanabe and delivering his most crucial aria, \u201cChe gelida manina,\u201d Popov seemed to hand himself over to the music and come from a most vulnerable place of expression and evolution. He was at the will of Puccini\u2019s design for Rodolfo and portrayed this role with conviction and honesty. There were also glimpses of his presence that were reminiscent of tenor Piotr Beczala in Met opera\u2019s production of \u201c<\/span>Lohengrin<\/span><\/a>.\u201d This leads me to wonder what Popov would do in the role of Lohengrin and how he would continue his vocal and acting development in this way. I believe given the space and continued support, Popov will rise to become a brilliant star.\u00a0<\/span><\/p>\n

Popov\u2019s interactions with P\u00e9rez\u2019s Mim\u00ec were natural and actively engaging with Rodolfo\u2019s deep love and affection for her. The most tender moments happened when the couple were not in the spotlight, and this is the ultimate sign of good chemistry in the works. Moments when I saw Popov keeping careful watch over P\u00e9rez, extending his hand or arm to her in comfort, allowing her to rest in the final scene before her death and intermittently checking in on her (making the role of Rolfo one of empathic response towards Mim\u00ec). These are the ways in which I felt Popov did his absolute best, leaving me wanting to see more performances by him in this way, especially Lohengrin.<\/span><\/p>\n

It is interesting to discover what a tenor will do in this role and how he will do it. I feel it says a lot about the character of the singer themselves and for this I am grateful Popov was paired with P\u00e9rez in this season\u2019s production. Bravo!<\/span><\/p>\n\"\"\n

Emily Pogorelc Charms & Surprises<\/h3>\n

Soprano Emily Pogorelc<\/a><\/span> as Musetta, who made her Met debut just this year as Lisette in \u201c<\/span>La Rondine<\/span><\/a>,\u201d was stunning in her role. In Francisco Salazar\u2019s review of her performance in \u201cLa Rondine,\u201d he says, \u201cPogorelc brought a fantastic lyric coloratura voice to the role of Lisette and while she doesn\u2019t get an aria, her interactions with the other characters showcased a bright and crystalline voice. It didn\u2019t hurt that her movement around the stage was filled with great flexibility and charisma and that she lit up the stage every time she entered.\u201d\u00a0<\/span><\/p>\n

And this held true for her Musetta performance, as well.<\/span><\/p>\n

Pogorelc\u2019s Musetta felt like her golden opportunity to really open up and let loose the full brilliancy of her voice and presence on the Met\u2019s stage. Her vocal agility and phrasing, especially during \u201cQuando m\u2019en vo\u2019,\u201d came across with ease and lightness to the effect of adding the unique quirkiness in her role\u2019s personality that charms others, instead of what sometimes gets mixed in this role\u2019s personality and confused as ego-centric manipulation.\u00a0<\/span><\/p>\n

Yes, Musetta wants all eyes on her, but Pogorelc stepped up Musetta\u2019s game by giving the people what they really want \u2013 a showstopping vocal performance to never forget. Pogorelc made Musetta feel alive again! With all due respect to anyone’s vixen-personified interpretation of Musetta, I felt Pogorelc\u2019s interpretation to be a more natural fit that illuminated Puccini\u2019s vocal composition as a means to be the light amidst the darkness. Pogorelc\u2019s Musetta transformed the banality of daily life, and ultimately patriarchal capitalism, making her role out to be the relief that only a dark comedy can provide. She was glorious!\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

Three Met Debuts in One Production<\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span><\/h3>\n

In his Met debut, <\/span>baritone <\/span>Boris Pinkhasovich<\/span><\/a> as Marcello was an excellent addition to this production\u2019s stunning cast. Pinkasovich\u2019s voice is full bodied, highlighting his rich vocal textures and imaginative palette of expression. He gave the most depth to this role that I\u2019ve experienced thus far. He also balanced out the voices of Popov as Rodolfo, Talos as Colline, and Kim as Schaunard. During the arias \u201cQuesto Mar Rosso\u201d and \u201cIn un coup\u00e9?,\u201d Pinkhasovich\u2019s baritone rang out into Met opera\u2019s hall with splendour and ease.<\/span><\/p>\n

His duet with P\u00e9rez, \u201cMim\u00ec!,\u201d was both heart-wrenching and gripping. There is more than meets the eye with Pinkhasovich and this added tremendously to the universal message of Puccini\u2019s music in this opera. <\/span>I also came across a <\/span>Q&A<\/span><\/a>\u00a0with Pinkhasovich that helped me to understand more of the baritone\u2019s process when taking on a role and what excites him most if one wants to read and learn more.<\/span><\/p>\n

Also in his Met debut, baritone <\/span>Gihoon Kim<\/span><\/a> as Schaunard provided a carefree perspective to the cast. His over-the-top moments provided some comic relief, and he made Schaunard into a role full of his own personality. I always feel that taking risks in this way must be taken fully, and in this regard, Kim took on the risk of acting out in this role with full commitment. His take on Schaunard was an interesting part of the mix.<\/span><\/p>\n

Kim\u2019s next performance will be in the role of Rodrigo at <\/span>Deutsche Oper Berlin<\/span><\/a> for this season\u2019s production of \u201cDon Carlo.\u201d\u00a0<\/span><\/p>\n

Rounding out the evening\u2019s headlining cast of Met debut\u2019s was bass <\/span>Bogdan Talos<\/span><\/a> in the role of Colline. His performance felt in line with this stellar cast and the production\u2019s nostalgia at the same time. Talos\u2019s voice resonated nicely during his aria, \u201c Vecchia zimarra, senti,\u201d and left me wanting to hear more.<\/span><\/p>\n\"\"\n

La Boh\u00e8me Is the Gift That Keeps Giving<\/h3>\n

Baritone Donald Maxwell<\/a> performed his legendary roles for this production, as Benoit and Alcindoro, always amusing and with perfect comedic timing. I always appreciate seeing him in this production, making it feel like the holidays are really upon us especially when everyone gathers in Caf\u00e9 Momus.<\/span><\/p>\n

It\u2019s also important to note tenor Marco Jord\u00e3o<\/a> as parpignol who did an excellent performance full of jovial cheer.<\/span><\/p>\n

The Met Opera Chorus sounded enthusiastic and full of joy, especially during the street scenes. The falling snow and entire Franco Zeffirelli production\/set designs are rich with seasonal colors and make for a great family outing to be experienced together. Costume designs by Peter J. Hall and lighting design by Gil Wechsler added the special touches, wrapping up this season\u2019s production of \u201cLa Boh\u00e8me\u201d as the gift that keeps giving.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

(Photos: Marty Sohl \/ Met Opera) The Metropolitan Opera\u2019s \u201cLa Boh\u00e8me\u201d celebrated a new season of success thanks to Kensho Watanabe at the podium and a stunning cast of favorites, including Ailyn P\u00e9rez, Dmytro Popov, Boris Pinkhasovich, Bogdan Talos, Emily Pogorelc, Gihoon Kim, and Donald Maxwell. Conductor Kensho Watanabe’s Midas Touch Conductor Kensho Watanabe, who made his Met debut with {…}<\/p>\n","protected":false},"author":74,"featured_media":94643,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8,73],"tags":[301,8370,8081,2866,14400,3477,1037,7277,10556,22525,80,18602,11656,38,24642,81],"class_list":["post-94638","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-review","category-stage-reviews","tag-ailyn-perez","tag-bogdan-talos","tag-boris-pinkhasovich","tag-dmytro-popov","tag-donald-maxwell","tag-emily-pogorelc","tag-franco-zeffirelli","tag-gihoon-kim","tag-gil-wechsler","tag-kensho-watanabe","tag-la-boheme","tag-marco-jordao","tag-met-opera-chorus","tag-metropolitan-opera","tag-peter-j-hall","tag-puccini"],"acf":[],"yoast_head":"\nMetropolitan Opera 2024-25 Review: La Boh\u00e8me - OperaWire<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operawire.com\/metropolitan-opera-2024-25-review-la-boheme\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Metropolitan Opera 2024-25 Review: La Boh\u00e8me - OperaWire\" \/>\n<meta property=\"og:description\" content=\"(Photos: Marty Sohl \/ Met Opera) The Metropolitan Opera\u2019s \u201cLa Boh\u00e8me\u201d celebrated a new season of success thanks to Kensho Watanabe at the podium and a stunning cast of favorites, including Ailyn P\u00e9rez, Dmytro Popov, Boris Pinkhasovich, Bogdan Talos, Emily Pogorelc, Gihoon Kim, and Donald Maxwell. 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