‘La Boheme’ Hits Superb High Notes

Music Review

When co-director Linda Jackson learned that ‘La Boh’me,’ the debut production of the Los Angeles Metropolitan Opera, would be performed in the sanctuary of the United Methodist Church instead of Tauxe Hall, she worried. She was concerned that the decidedly free-spirited bohemian life might be in some way sacrilegious. She needn’t have fretted because on Friday night the sanctuary was indeed blessed with the rapturous music of Puccini’s score brought to its fullest beauty by the talented ensemble.   Under the imaginative supervision of stage director Kirk Smith, the altar and communion area magically disappeared into the dank, cold artist’s garret in Acts I and III, and the ribald joie de vivre scene at the Caf’ Momus. Updated to 1963, the costumes and set design reinforced the artists’ devil-may-care camaraderie and ingenious survival that describes the poor artist’s life. And in spite of the last minute change of venue, the cast moved fluidly in and around the stage, cleverly using the church columns and side door to dramatic advantage. The ‘set’ proved to be a creative space, but the triumph is the music and the brilliant cast. Jackson, a Pacific Palisades resident, brought different colors to her role, employing her warm and supple soprano to Mimi’s multiple moods: strong, hopeful and ultimately diminished by her illness. Gabriel Reoyo-Pazos, as Rodolfo, was Jackson’s match, not only in the sureness of his voice, but also in his tender focus.   The other pair of lovers, up and down in their affections for one another, were wonderful to watch. As Marcello, Gabriel Manro’s warm baritone brought a masculine passion to his role as supporter of Rodolfo and to his desire for Musetta (Diana Briscoe).   Briscoe pulled out all the stops, playing Musetta as the sexy provocateur who drives Marcello to fits. Her soprano was up to the demands of this character role.   Fellow Bohemians, David Hodgson (Shaunard), Herv’ Blanquart (Colline), Stanton Hunter (Benoit and Alcindoro) each established a clear character profile.   Perhaps the most praise should be for music director Galina Barskaya, who provided lively accompaniment on piano/synthesizer with respectful attention to the voices.   Friday evening’s full house was treated to spectacular opera with the added bonus of being close to home.   Bravas to co-director Jackson and co-founder/artistic director Ella Lee for the first in a series for the Los Angeles Metropolitan Opera. Future productions in the Palisades include ‘La Traviata,’ ‘Cosi fan Tutti’ and ‘Tosca.’