O.C. OPERA REVIEW : Borrowed ‘Boheme’ : Opera Pacific Polishes Up Zack Brown’s Visual Production

With a cast of promising but relatively unknown singers, the revival this month of Opera Pacific’s borrowed “La Boheme” has just one brilliant component: the production itself. But that element does shine.

The massive, old-fashioned sets and handsomely coordinated, understated costumes designed by Zack Brown for Washington Opera in 1981--and seen there again in 1984 and 1990, as well as in Costa Mesa five years ago--still must please traditionalists. The visual production, Brown’s valentine to the Paris of 1830, fairly glows, this time under the attentive and detailed lighting scheme devised by Marie Barrett. And with an energetic young conductor, Steven Mercurio, in charge in the pit, it also sounds bright and fresh.

A dressed-to-the-teeth audience, which filled Segerstrom Hall on the opening night of Opera Pacific’s seventh season in the house, responded enthusiastically to the visuals and to the music--although, this time around, with better sense than was reported five years ago: Inappropriate applause, at least at the ends of acts, did not materialize on Saturday, and the quiet endings could be heard.

The happy clappers did not hesitate, however, to show their appreciation after every aria. If they were disappointed about not having been given something new on what they obviously felt was a gala occasion, they kept it a secret.

Much of the time, their appreciation of this performance seemed warranted. The young and able cast that general director David DiChiera put together for opening night did look and sound a game group, enthusiastic in its newness to the musical tasks, conscientious, if seldom touching, in its acting.

With one exception--the Colline of Kenneth Cox, who appeared in the same role here five years ago --these are not exactly veterans. But they do take their assignments seriously.

Best of the lot on opening night were Jan Grissom, an irresistible Musetta who sounds mellow and holds the stage effortlessly, and Cox, whose Colline looks still-youthful and who demonstrates both a major vocal endowment and a polished acting style.

Stella Zambalis, a soprano from Ohio with international credits, often creates a credible heroine here; this attractive Mimi sings her two arias with a pretty if undistinctive tone and nice attention to words, and she interacts well with her colleagues.

Her Rodolfo, also taking the role for the first time, is the Puerto Rican tenor Cesar Hernandez whose voice at this point promises much but does not yet chill or thrill the listener, although its range is impressive. As an actor, he seems willing but still in the primitive stage.

More good promise can be heard and seen in the work of Mark Rucker, the solid if in moments wooly baritone playing Marcello, and in the entry-level Schaunard of Timothy Jon Sarris.

Following the conception of the original stage director Gian Carlo Menotti, Roman Terleckyj seems to have retained effective detailing in the dramatic scheme and also has caused his young cast to work as a team. Visually, the show seen on opening night moved smoothly and without distractions.

Musically, it did that also, thanks to conductor Mercurio, who more often than not leaned toward fast tempos but usually gave the singers their breath and Puccini his line.

The Opera Pacific Orchestra played with admirable strength and seemingly genuine confidence. Trained again by Henri Venanzi, the chorus sounded similarly bright.

On Sunday afternoon, while Grissom and Cox repeated (within hours of the opening) their “Boheme” roles, three new principals assumed their places on the Segerstrom stage. And to very positive effect.

As they had in Opera Pacific’s 1991 production of “Les Pecheurs de Perles,” two singers originally from the People’s Republic of China became the onstage lovers for the second performance in the run. From the evidence of their handsome singing and committed acting, it is not too much to say that soprano Ai-Lan Zhu and tenor Jianyi Zhang deserve first-cast status the next time around.

Zhang, a resourceful actor, possesses a voice of substance and sweetness, one he uses artistically and with textual finesse. Zhu gave a touching vocal and histrionic performance throughout, ending with a most credible death scene. Both singers on occasion seemed to suffer shortness of breath in completing the composer’s arching phrases, but, in the heat of battle, it hardly seemed to matter.

At the same time, American baritone Richard Cowan, well-remembered from the televised performances of Chicago Lyric Opera’s “Antony and Cleopatra,” brought a sizable and attractive Italianate voice as well as dramatic authority and careful detailing to the opportunities posed by Marcello.

Such gifts and achievement ought to take him far.

As he had the night before, Thomas Hammons delivered cherishable well-etched cameos as both Benoit and Alcindoro.

* Opera Pacific’s presentation of “La Boheme” by Giacomo Puccini continues Wednesday, Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at the Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. $15 to $75. (714) 979-7000.