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Palo Alto Online

Pathos without bathos

by Kelly Snyder

West Bay Opera is closing its season with a rewarding, if uneven, production of that perennial favorite, "La Boheme." In a production staged by Kenneth Tigar and conducted by David Sloss, the Lucie Stern Theater provides a suitably intimate setting for Puccini's tale of young love in turn-of-the-century Paris.

Both Tigar's stage direction and Sloss's music direction were generally adequate, with moments of inspiration as well as a few lapses. Sloss was at his best in the third act, shaping Mimi's "Donde lieta uscita" aria and the quartet that ends the act with a strong, sweeping sense of shape and space.

Tigar's direction was straightforward for the most part, but his attention to detail is commendable. At times, as in his staging of the final moments, they strike just the right touch of pathos without lapsing into bathos.

Karen Frankenstein as Mimi gave the strongest overall performance. Her unfussy acting, wedded to her secure singing, made for a compelling portrait of the seamstress dying of consumption. The middle voice is full and warm, with an upper register that blooms and soars up to about an A-flat or A. Her B-flat in "Donde lieta uscita" wasn't quite as full and secure, but that was a minor flaw in a performance that was both stylistically informed and emotionally powerful.

As her lover, the poet Rodolfo, Benoit Gendron has neither Frankenstein's unaffected stage presence nor her vocal resources, but he devoted all his abilities to creating a passionate, romantic lead. Gendron's tone in the middle voice, where much of the role lies, is nasal and easily covered by the other singers and orchestra. In his acting Gendron may well be more suited for comedy than tragedy. With an elegant presence and a sense of humor, he was most convincing in the light-hearted moments early in the opera.

Despite being saddled with an unbecoming red wig, Aimee Puentes tore into the role of Musetta with great relish, serving as a strong contrast to Frankenstein's modest, quiet Mimi.

Scott Bearden's (Marcello) robust baritone effortlessly filled the theater. And while the big round tone suited his genial portrayal of the painter, one was also very much aware of the singer and the voice rather than the character and the action. But there were moments, particularly in the third act with Mimi, when Bearden scaled back, discovering some dynamic variety in his singing. Once Bearden realizes he need not sing at full volume to be easily heard, particularly in a small theater, his performances will be even stronger.

Tall, willowy Kirk Eichelberger may lack sufficient stage experience to completely inhabit the role of the philosopher, Colline, but he certainly does not lack either the voice or the ability. His youthful bass was full of vibrancy and he held his own on stage among the principals, even if he didn't quite find an individual approach for the role.

Swaggering and self-assured, Roberto Gomez brought energy and focus to the role of Schaunard, the musician. He fit neatly into the ensemble group of bohemians, while knowing just when to take charge of a moment dramatically.

Among the supporting roles, there were two standouts. Jesse Merlin's goofy, convivial Benoit worked beautifully, making of the landlord a credible if naïve character, wonderfully different from the doddering fool one usually sees played. Likewise, Eric Coyne's befuddled, adoring Alcindoro found just the right touch of humanity in his performance.

Latifa Medjdoub's costumes exhibited a fresh approach, strong in overall concept but with a few telling details that jarred. For example, one key piece is a bonnet Rodolfo buys for Mimi in the second act. But the bonnet Mimi ended up with in this production fit so poorly, she could not even wear it and one had to wonder why she was so delighted with it.

Jean-Francois Revon's settings were even more frustrating. His Café Momus scene in the second act was an absolute delight, fitting in every detail and wonderfully atmospheric. But the garret scene used in the first and fourth acts was problematic, with a large, blank span of back wall dominating the scene and only a tiny round window at one side. Such a lightless garret would hardly be the kind of place a painter would find acceptable -- even a starving one like Marcello.

While West Bay Opera's "La Boheme" is not a perfect production, there is much to be savored and Puccini's opera still packs an emotional wallop. The decision to have a single intermission for the opera (originally written in four acts) added to its sense of drama and immediacy. And on the strength of many of the performances, this "La Boheme" emerges with a fresh vitality that the opening-night audience responded to enthusiastically.

What: "La Boheme," presented by West Bay Opera in Italian with supertitles.

Where: Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto

When: Tonight through Sunday; Friday and Saturday performances at 8 p.m.; Sunday matinée at 2 p.m.

Cost: Tickets are $38, with a special $19 youth ticket (for those under 18) for Sunday matinée only.

Info: Call (650) 424-9999 or visit www.wbopera.org.