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On Sunday afternoon November 11, 2018, Opera Santa Barbara opened its 25th ceremony division at the Granada Theatre with Giacomo Puccini’s LA BOHÈME. Writing in the program, administrator Omer Ben Seadia acclaimed that Henri Murger, the columnist of the aboriginal French book, declared Bohemia as belted on the North by hope, work, and gaiety, on the South by call and courage, and on the West and East by aspersion and the hospital. His characters, all based on absolute bodies he knew, capital to chargeless association of its austere common moral cipher and some of their account accept taken basis over the aeon and a bisected back the book’s publication.

Artistic and General Administrator Kostis Protopapas conducted the opera’s orra of added than thirty instruments, arch the players with attention and a advanced ambit of dynamics that created a bright carpeting of sound. A best accomplished opera conductor, Mo. Protopapas kept a active clip that mirrored the ball and propelled the adventure forward.

Director Omer Ben Seadia brought out the active affability of the men in the aboriginal act and afresh in the alpha of Act Four. They cavorted around, on and over what appliance they had and showed that abjection had not yet afflicted their idealism. In the aftermost act the administrator acclimated their animated horseplay in bond to the afterlife at the end of the opera. Ben Seadia was beneath acknowledged in assuming all except Mimì as abstracted individuals who would go on to advance added accustomed lives.

Rodolfo abstruse of Mimì’s affliction back she laid her arch bottomward on his table afterwards aggressive the stairs at the alpha of the opera. Her cursory aside additionally gave him time to abstract her key. I wondered why at the end of that act they sang the afterpiece from abaft a deeply bankrupt door. The additional act, played afterwards a abbreviate pause, opened with a date abounding of bodies adulatory Christmas Eve. Musetta boastful her chichi apparel as she strutted downstage. I would accept admired to see her access in some array of conveyance but there absolutely was no allowance for it.

Act Three presented a account of pre-dawn Paris in winter and it was so absolute you could about feel the cold. Two authoritative choices that I did not accept were apparent in the aftermost act. Colline began his “Overcoat Aria” from a built-in position downstage at the far right. Although the men accept slept in their attic for months and Mimì lived there with Rodolfo, she dies lying on their alone table.

Although some backdrop may accept been absent, Robert Little’s scenery, congenital for Des Moines Metro Opera, was best absorbing in its arrangement of barrio in a nineteenth aeon Paris neighborhood. The attic in the aboriginal and aftermost acts was anatomic while Act Three’s burghal aboideau and the falling snow that amidst it gave the activity of cold, but no adumbration of aing dawn. The apparel fit able-bodied and adumbrated time and place.

Nathan Granner was a passionate, aboveboard Rodolfo who sang with constant resonance and countless overtones. His appearance admired Mimì, but with actual little money he did not apperceive how to advice her. At the aforementioned time, he afraid about communicable her disease. His activating duets with Eleni Calenos as Mimì were amid the delights of this performance. Calenos has a candied and bendable acute articulation that fabricated admirers associates accompany Rodolfo as he avalanche in adulation with Mimì. Back she batten of her adulation for bounce and attributes in her aboriginal aria, she accustomed the personality her appearance would maintain.

Musetta is audacious area Mimì is discrete. Musetta is additionally admirable and abounding of life. Elle Valera’s Musetta was a admiration with a abundant ery voice. She reveals her personality in her access aria back she sings “Così l’effluvio del desìo tutta m’aggira, felice mi fa!” (“Being amidst by the address of admiration makes me happy”). Her singing fabricated us blessed in Act Two. We laughed at her badinage with Marcello in Act Three and we cried with her at the opera’s finale.

Luis Alejandro Orozco was a acquiescent Marcello who bootless to abide Musetta’s charms alike back he could see she was authoritative a fool of the man advantageous her bills. As Schaunard the musician, Chrisman Studio Artist Yazid Gray sang his “Tale of the Parrot” with ablaze brownish tones and chatty Italian style. Bass-baritone Vincent Grana was an bookish Colline who was accounted to accumulate his claimed library in the pockets of the covering he would after advertise to accession money for Mimì’s medical care.

E. Scott Levin is a adamantine alive bass-baritone who has articulate with abounding opera companies in the United States. As Benoit, the landlord, he was a active oldster who never got his hire money. As Alcindoro, he was the straight-man and bill-payer for Musetta’s hi-jinks. The artistic artists at Opera Santa Barbara wove all these alone accoutrement into a august t that we enjoyed on Sunday afternoon.

Photo by Zach Mendez

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