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In all, this is a traditional performance of a traditional opera-but this should not be taken as criticism. Obviously competent and strong as a leader, he revealed a distinctive personality and affinity for this music. It was evident from the outset that Brandini knows the score well and has clear ideas about what he would like from the orchestra and the singers. It is, of course, important to avoid sentimentality in this opera, but I would have preferred just a touch more. Played too quickly, PucciniвЂ™s music can lose some of its inner emotion. In general, he preferred somewhat quick tempos, perhaps more so than my own personal taste.

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Latini made a strong impression and earned her full share of applause at the end.ДЄmong the several debuts with the company in this production was conductor Jonathan Brandini, who led the CPO in a strongly characterized account of the rich orchestral accompaniment. With a voice as strong as MimiвЂ™s, but perhaps with a more innate dramatic quality, she delivered all the was needed in the famous Waltz Song in the Cafe Momus act, her infuriating actions (at least to Marcello) filled with comedy and impressive wilfulness-MusettaвЂ™s underlying quality. MarcelloвЂ™s love interest was Joanna Latini, the productionвЂ™s Musetta. Also easy on stage, this was a fine projection of the role of Marcello, one of the operaвЂ™s most human and sympathetic characters. But Barrett could be clearly heard, and without forcing, his voice rising to it top register without strain, yet remaining fully in the best baritonal fashion.

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The beef element was particularly welcome in the second act where Marcello has to sing MusettaвЂ™s song over an entire orchestra plus full chorus. One could only admire the big, beefy baritone of Peter Barrett. This was a portrayal of Mimi that she can, so to speak, take to the bank: many companies will be happy to have a Mimi as natural on stage as this, and who can bring a tear to the eye in moments of passion or pathos. With a voice high and strong enough to bring full emotion to the big passages, Khalil also possesses a strong middle register and a memorable beauty of tone colour. She was vocally the most compelling of the cast. Khalil has in the past few years moved from вЂњpromisingвЂќ to a now established opera career. New to Calgarians and making her Calgary Opera debut was Canadian-Syrian soprano Miriam Khalil as Mimi.

La Boheme is an opera about young people, and there is a tradition of giving operatic newcomers a chance to try their wings. This was yet another fine vocal/dramatic outing for Calgary OperaвЂ™s fine chorus. It was all champagne and fizz dramatically, and the Momus act drew a very strong audience response. There were many fine touches of detail: the actions of the waiters, the antics of Alcindoro, and the role of the children, sung by the Cantare ChildrenвЂ™s choir, who somehow managed to keep up with the super-rapid tempo of the music. Article contentД«renna Corner, returning for her first stint as main stage director, imbued the cafe scene, and production generally, with inner life and vivacity. This advertisement has not loaded yet, but your article continues below.

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