La Bohème

There's a shared creative heart between the top two most performed operas in the United States (Madama Butterfly and La Bohème): they are both composed by Giacomo Puccini with librettos by Luigi Illica and Giuseppe Giacosa, a team that produces transcendent melodies and compelling stories. What makes the current Opera Colorado production of La Bohème special is its artistic commitment to the original concept and the creative staging that allows the opera's musical and dramatic dynamics to shine.

Richard Troxell as Rudolfo and Inna Dukach as Mimi Photo: Matthew Staver

Once the voices get warmed up and carry above the orchestra, everything clicks. The good-natured humor of the Bohemians, all poor artists in Paris, comes to the fore, and their love relationships blossom. The sweet chemistry between Rudolpho (Richard Troxell) and Mimi (Inna Dukach) is apparent from any seat in the hall, while Marcello (Morgan Smith) and Musetta (Sari Gruber) are a wonderfully volatile mix.

Inna Dukach as Mimi Photo: Matthew Staver

Stage director Andrew Sinclair and the cast make this the most memorable La Bohème in years, fully capturing the joie de vivre and passion that defines the bohemian life-style, stoking a mystique that is often absent.

One of the great achievements of La Bohème is that the robust comedic elements reinforce the tragedy. Dukach's Mimi is luminous in her sentiments and her song, amplified by the poor embroiderer's poverty and solitude. We're touched by the heartfelt feelings she conveys toward Rudolpho. These sentiments are returned by Troxell, making theirs a memorable pairing.

(L to R) Morgan Smith as Marcello, Elliot Madore as Schaunard, Ryan Speedo Green as Colline, Richard Troxell as Rodolfo, and (front) Thomas Hammons as Benoit Photo: Matthew Staver

Gruber is a fetching, gay, and free-spirited Musetta—all that Smith's jealous and strong-willed Marcello can handle. Their vocal repartee and jousting is a delight. Ryan Speedo Green's rich bass, as Colline, and Eliot Madore's playful baritone, as Schaunard, round out fine set of principals.

Sebastian Lang-Lessing leads the Colorado Symphony through a gorgeous rendition of Puccini's consumately melodic score.

Inna Dukach as Mimi and Richard Troxell as Rudolfo Photo: Matthew Staver

The only disconcerting moment of the evening was being reminded that the company does not find the irony in beginning an evening of Puccini with the national anthem, given the composer's strong anti-imperialist views (epitomized in Madama Butterfly). For those of us that are embarassed by our corporate state's continuing lust for war and wanton disregard for human rights the environment, such jingoistic breast beating represents the antithesis of the art we are there to witness.

No doubt our bohemians would have worked for the Resistance had this opera taken place during the Vichy regime. As it was, they were struggling in an economy where shortage of currency is by design, a policy of the same long-standing financial interests that insist on our allegiance to their war profiteering and attendant displays of mock patriotism. It may be that monies from such plundering supports the very art that we are extolling, but in a more enlightened society, our taxes would support this same art, rather than serve as obscene subsidies for the financiers and their armaments industry.

The remaining performances of Opera Colorado's La Bohème are on November 9, 12, 14, and 16. 303-357-ARTS.

Bob Bows