A Young Cast Excels in L.A. Opera’s ‘La Boheme’

L.A. Opera’s excuse for reviving its 1993 production of “La Boheme” Saturday night is to celebrate the 100th anniversary of the American premiere of Puccini’s opera here in Los Angeles. An even better excuse might be the coincidence of the musical “Rent,” Broadway’s updating of “Boheme,” which is about to begin previews across the Music Center plaza at the Ahmanson.

No excuse, of course, is required to mount one of the most beloved operas ever written, although maybe the company feels some kind of explanation is needed for all the attention it has been paying lately to the trashiest corner of the operatic repertory--Italian verismo. The season opened earlier in the week with Giordano’s melodramatic thriller, “Fedora,” written just a couple years after “Boheme.” Last season opened with “Pagliacci.”

But, in fact, L.A. Opera had the best excuse of all for its “Boheme”--a young, enthusiastic, believable cast, and a conductor who likes nothing better than to fire a young singer’s ardor. That conductor is Placido Domingo, and he can also take credit for the fact the production has as fine a Mimi as it does. Ana Maria Martinez, a young soprano from Puerto Rico making her local debut, was discovered when she won the Placido Domingo International Voice Competition Operalia two years ago.

She is, as yet, an inexperienced and overly eager actress, if a game one. But the voice is pure dark, rich, very thick honey. She and Rodolfo, sung with the best sort of modern tenorial unfussiness by Greg Fedderly, could not have been a more appealing or touching pair of lovers.

But it gets even better as we go down the cast list to Rodney Gilfry. We know him still as an up-and-coming local baritone. But he now gives notice of being the Marcello of choice anywhere.

He looks almost the California surfer, but he finds a complexity and depth in the role of the temperamental painter that few ever even attempt. His flighty lover, Musetta, Albanian coloratura Inva Mula and another winner of Domingo’s competition, was an appropriate ball of fire.

The production, by film director Herbert Ross, now capably entrusted to stage director Christopher Harlan, holds up fine. It sometimes explains too much, but it is at other times inspired. Especially effective is pulling apart the bohemians’ garret to create the effect of a cinematic tracking shot that leads onto the streets of Paris. The second act crowd scene bursts with color and spirit.

But then this is one of those rare cases where a certain infectious spirit somehow seems to take over every aspect of a production. Everything and everyone looks and sounds just about right. Gerard Howland’s turn-of-the-century Parisian landscape, Peter J. Hall’s costumes and Alan Burrett’s lighting may not be anything special, but they all flattered. A chemistry occurred not just between the principals but the complete bohemian crew, which included Richard Bernstein as the philosopher Colline and Malcolm MacKenzie as the musician Schaunard. Jaime Offenbach made something classier than usual of the comic parts of the landlord Benoit and Musetta’s sugar daddy, Alcindoro.

Again, credit for this seems to be Domingo’s. His conducting gets better with each outing in the pit. He may not provide the last word in textural refinement, but he has momentum on his side and he galvanizes his singers. The L.A. Opera orchestra does not always sound so strong and confident, so that, too, is clearly his doing. William Vendice’s chorus was splendid.

There were mishaps. The stage crew has been unusually noisy thus far this season (though first nights are always prone to more clunks). A miscue brought the second-act curtain down a crucial minute too early. But an opera performance is in very good shape when that is the evening’s worst moment--and you can be sure something like that will only happen once.

This production, moreover, sits well with the latest news from the South Coast Air Quality Management District that pollution downtown this season is at a record low. Right now at the Music Center, “La Boheme” is a healthy blast of the freshest operatic air. Breathe it while you can.

* “La Boheme” continues Tuesday and Friday, 7:30 p.m., Sept. 16 and 21, 2 p.m., Sept. 19 and 24, 7:30 p.m., Dorothy Chandler Pavilion, 135 N. Grand Ave. $24-$135. (213) 365-3500. William Vendice conducts the final four performances.