Rochester Philharmonic Orchestra Music Director Ward Stare
rose to prominence as Principal Trombone for Lyric Opera of Chicago. Here in
the Flower City, he has made a conscious effort to perform operatic works in
their entirety. On Thursday, when the RPO performed Giacomo Puccini’s beloved
“La Bohème,” the result was unsettled at first, but
ultimately triumphant.
Stare’s
initial tempo was lively but slightly rushed, as if the conductor and orchestra
were settling into a groove. Early on, the balance between the singers and the
orchestra was also off. The vocalists were simply overpowered, though this was
the only noticeable occurrence of such inequality.
For all of
Puccini’s languid, swooning vocal melodies, the harmonic underpinnings and
rhythmic flourishes provided by the orchestra were the lifeblood of the
performance. The ensemble’s sound was warm and exuberant throughout the opera.
In particular, the execution of Puccini’s signature symphonic swells was
alluring.
As Rodolfo,
tenor Harold Meers’ “Chegelidamanina” was satisfactory —
like hearing a familiar story told faithfully — even if it lacked flair.
Soprano Inna Dukach’s first aria, “Si, mi chiamanoMimì,” was decidedly
more compelling. Dukach employed a tender vibrato
that was most stunning during quieter passages that required great control in
her higher range.
Soprano
Jacqueline Echols’s entrance in Act II as Musetta was
sufficiently piquant, as evidenced during the aria “Quandom’envo’.” The singer’s
triumph here was her ability to take this seemingly superficial ode to Musetta’s powers of seduction and turn it into a
surprisingly vulnerable and sweet moment. Of all the singers, baritone
Alexander Elliott was especially exquisite, his suave Marcello brimming with
strength and vitality.
“La Bohème” is a bittersweet paean to the impermanence of love
and life. Earnest, shortsighted characters sing unflappable melodies that are
equal parts ecstasy and heartbreak. If I had forgotten why this opera continues
to be so popular, more than 120 years after its creation, the RPO’s performance
was a reminder. The music was absolutely sumptuous — as full and vivid in
orchestral color as I’ve heard from Stare and company all season.
This article appears in May 31 – Jun 6, 2017.
