Timothee Chalamet recently acquired some notoriety when he commented that no one cares about ballet and opera anymore. His comment not only engendered widespread negative reaction, but clearly found little resonance here in the Lower Mainland. With its season-closing production of La Boheme, Vancouver Opera was reported to be on track to set a new box-office record.
Now, it is true that Vancouver Opera may experience some negative reaction because its productions are almost entirely drawn from the standard, most popular repertoire, with very little showcasing of less frequently performed works, but this is understandable. Operas by Verdi, Puccini, and Rossini are generally very well patronized, and this is important.
Opera is a very expensive art form, and though, happily, Vancouver Opera is well sponsored both officially and privately, finances are a reality that many art forms struggle with. So, if opera is what people wish to see, then the tried and trusted works are clearly the right financial choice and, of major importance, in the case of Vancouver Opera’s production of La Boheme, a wonderful artistic choice.
In many ways, the production was superlative.
Costumes, courtesy of the Sarasota Opera Association, beautifully reflected the tone of the work. Steven C. Kemp’s sets, courtesy of the New Orleans Opera Association, were a worthy rival to the famed Zeffirelli sets designed for the New York Metropolitan Opera, and took full advantage of the Queen Elizabeth Theatre stage, particularly in the boisterous, complex second act. But, in the end, it is the music that counts.
Once again, under the leadership of Jonathan Darlington, the Vancouver Opera orchestra proved what great musical talent resides here in Vancouver. Above all, the cast and chorus gave beautiful rendition to Puccini’s luscious, lively, and lovely score. On opening night, Matthew White as Rodolfo and Jonelle Sills as Mimì provided soaringly lyrical renditions of their roles.
The latter, in particular, rose to the occasion with superbly sonorous and hauntingly beautiful vocalization. I am confident that the alternate singers filled their parts, in other performances, with equal talent. If I may add a personal note, I would like to mention that I was delighted that one of my former English students, Justin Welsh, after pursuing a wide-ranging and highly successful career elsewhere, has found his way back home to Vancouver, making his debut with Vancouver Opera. For me, it made the evening even more special.
The result of all this was a memorable evening of musical magic. It is true that I always find myself somewhat perplexed by the farcical openings of Acts I and II, which seem at odds with the overall tragedy of the doomed Mimì, but I suppose they are intended to provide a statement that in the midst of life there is death, and particularly was this so at the time the opera was first performed some 130 years ago, when tuberculosis was one of the leading causes of death for rich and poor alike. Sadly, for other causes, this still rings true today. It still has social relevance.
Be that as it may, the entire show, both comedic and tragic, pointedly directed by Brenna Corner, was a triumph.
All in all, Vancouver Opera served, in its season closer, as fine an evening of opera as one could wish for. There is a promise of more to come with next year’s productions of Tosca, The Barber of Seville, and La Traviata, popular works all.
We each find our own response to opera, but when we are as well served as we are by Vancouver Opera, I think it is incumbent on all local opera fans to give continued support to the company. Let’s continue to show that Timothee Chalamet was wrong!
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