Singing sustains insipid 'Boheme'

UTAH OPERA, "LA BOHEME," Capitol Theatre, Oct. 16; additional performances Oct. 20, 22, 7:30 p.m., Oct. 24, 2 p.m. Tickets through ArtTix (801-355-2787)

It's the singing that sustains Utah Opera's new production of Giacomo Puccini's "La Boheme," which opened Saturday in the Capitol Theatre.

Because, aside from some remarkable vocal performances, this production is insipid. In fact, it's not just Mimi who suffers from consumption, the production as a whole is rather consumptive.

There is no real chemistry between Rodolfo and Mimi. There is no acting to speak of — except for Musetta's rather over the top comic turn in Act II.

In fact, the acting is so glaringly absent in this production, one is more touched by Colline's farewell song to his coat, which he sells to get money to help Rodolfo and Mimi, than in the lovers' final duet as Mimi lies on her deathbed.

Then there is conductor Leonardo Vordoni's bizarre tempos. He seems to be under the impression that slow equates with feelings of passion. At several big moments in the opera, including Rodolfo's "Che gelida manina," the tempos were so slow they threatened to bring everything to a standstill.

Vordoni lacked any dramatic sense, and the production suffered because of that. On the other hand, the singing was wonderful, with sopranos Laquita Mitchell, who made her Utah Opera debut Saturday, as Mimi and Celena Shafer as Musetta the real vocal stars.

Both have lyrical voices with dramatic power and they brought some needed credibility to their respective roles, although it's rather unfortunate that stage director Crystal Manich has Shafer playing her character with such broad humor in her big second act scene. Luckily, Shafer made up for this by her delightful rendition of her flirty "Quando me'n vo'," better known to audiences as "Musetta's Waltz."

Tenor Gerard Powers as Rodolfo and baritone Brian Leerhuber (replacing the originally cast Keith Phares) as Marcello were also in top vocal form in Saturday's opening night performance.

They are both fine singers and their lustrous voices brought a lot to this production.

The other two main roles are sung by bass Derrick Parker (Colline) and baritone Brent Reilly Turner (Schaunard). They were also vocally stunning in their respective parts.

The Utah Opera Chorus and the young choristers of the Madeleine Choir School were fabulous, as always, and the members of the Utah Symphony in the pit played well.

e-mail: ereichel@desnews.com