Romance Flickers but Rarely Flares in This ‘La Boheme’

“La Boheme”--an old and very good friend to the Los Angeles Opera--has returned to the Dorothy Chandler Pavilion, just in time for the holidays. Puccini’s popular work is a much-loved companion, attractive to audiences no matter who is performing. So Los Angeles Opera has taken this latest revival of Herbert Ross’ colorful 1993 production as an occasion to feature emerging singers as well as relying on its own residents on stage and in the pit.

“Boheme” may not be traditional holiday fare--it’s a sad story in the end--but its first half couldn’t fit the season better, what with love in bloom in Paris on Christmas Eve. And Ross’ handsome production captures that Paris, especially the lively Christmas Eve in the Latin Quarter, with a film director’s fine eye for many specific, late 19th century details (an updating of about 50 years from the opera’s libretto).

It is also a realistic production that strives hard to avoid the routine that easily sets into what is likely the world’s most often performed opera. An excellent way to avoid such routine is with young, not-yet-jaded singing actors. Two made their company debuts Wednesday night--Aquiles Machado as Rodolfo and Earle Patriarco as Marcello. Both are determined and affable actors. Machado, a teddy bear of a Bohemian, expresses his fervor in a nasal, piercing voice. Patriarco is a confident, commanding baritone. Neither, however, brought anything particularly fresh to their assignments.

Nor did Leontina Vaduva, who is also a fervent and romantic singer whose Mimi is a surprisingly robust consumptive. Inva Mula, Musetta in the previous revival of this production, returns with her glamorous voice and spunk. She alone among the principals seemed to have a feel for the intricacies of the production.

Perhaps, with a run of nine performances, there will be time for the production, which is now directed by Christopher Harlan, to settle in. But on Wednesday, there was often a sense of approximation, of theatrical timings never being quite precise. This was particularly underscored by William Vendice’s conducting, which was supple and supportive of the singers but lacking in atmospheric or romantic magic. For instance, a wonderful moment in the production, when the first-act garret suddenly breaks open to place the lovers directly in the moonlight, needed more musical magnification to convincingly levitate the set. Instead attention was too easily diverted by curious misplaced orchestral balances--the harpist was adamant.

The ensemble scenes, another special feature of the production, also lacked assurance, despite the usually reliable contributions from various resident and regular singers in the company. They included Eric Owens as the sonorous philosopher Colline, Malcolm MacKenzie as the rambunctious musician Schaunard and Jamie Offenbach adding amusing real-life touches that lifted his dual roles of Benoit and Alcindoro above the usual caricature. Placido Domingo will conduct two of the performances--Dec. 13 and 16--and it will be interesting to observe whether it makes a difference when the company’s artistic director is in the pit.

* “La Boheme” repeats Saturday at 1 p.m., Thursday, next Friday and Dec. 10 and 13 at 7:30 p.m., Dec. 16 at 1:30 p.m., Dec. 19 and 21 at 7:30 p.m.; $28 to $148, Dorothy Chandler Pavilion, 135 N. Grand Ave. (213) 972-8001.