This story was originally published by ArtsATL.
Atlanta Opera bridges the gap between the magic of the holidays and the romance of February with a revival of Giacomo Puccini’s perennial classic “La Bohème.” The opera opens at Cobb Energy Performing Arts Centre on Jan. 20 for a run of four performances through Jan. 28.
Since its world premiere at Italy’s Teatro Regio in 1896, “La Bohème” has held a prominent place on the short list of most popular operas ever written. The work is based on the novella “Scènes de la vie de Bohème” by Henri Murger, which centers around the lives and loves of a group of young Parisian artists and their Bohemian lifestyle. Puccini’s delectable adaptation gave us one of opera’s most treasurable romantic couples — the winsome seamstress Mimi and her lover, the struggling poet Rodolfo.
Atlanta’s Mimi is Gabriella Reyes. The first Nicaraguan-American to sing at the Metropolitan Opera, Reyes was plucked from Boston Conservatory directly into the Met’s Lindemann Young Artist Development Program. She has subsequently graced the stages of Paris, Dresden and Glyndebourne and has returned to the Met as Puccini’s Liu’ in “Turandot” and as Musetta, the second soprano role in “La Bohème.” Reyes recently received acclaim as Rosabella in the Met’s history-making mounting of Daniel Catan’s “Florencia en el Amazonas,” the first Spanish-language opera performed there.
Our Rodolfo is the delightful Chinese lyric tenor Long Long. After study in Shanghai and Beijing, Long has carved out an impressive international career in Dresden, Salzburg, Glyndebourne, London’s Covet Garden, Hannover and Israel — with Dallas and Santa Fe on the horizon — in leading tenor roles for Mozart, Donizetti and, of course, as Puccini’s Rodolfo.
ArtsATL sat down with the pair to explore their thoughts on Puccini’s “La Bohème.”
Credit: Courtesy Atlanta Opera
Credit: Courtesy Atlanta Opera
ArtsATL: Why is Rodolfo such a coveted role for tenors?
Long Long: “Bohème” is a beloved opera, and most opera houses play it frequently, so that provides a lot of work for tenors. More importantly, Rodolfo is quite a satisfying role. There are so many colors in his music and changes in the character. In the beginning, Rodolfo can be naïve, even childlike. But in the third and fourth act, his heart struggles, he faces tragedy and he grows into another person. That doesn’t happen with all roles. The Duke in Verdi’s “Rigoletto” is a big challenge with beautiful music that I love to sing. But dramatically, he’s not as difficult. He doesn’t change much; he’s this pretty surface guy who really loves women. Rodolfo is much more challenging.
The aria “Che gelida manina” is quite different from a bel canto aria; it’s almost like an extended recitativo with aria, because he’s always talking. It’s very narrative. Then this splendid moment comes with the phrase “Talor del mio forziere,” and he breaks into aria. That phrase is the most legato tenor phrase in opera history, in my opinion, and the aria’s famous high C only comes after four minutes of singing! It’s a challenge for the voice and the whole body.
ArtsATL: And how about Mimi? Why do sopranos love this role so much?
Gabriella Reyes: Mimi gives us a chance to be who we are when we are most confident in ourselves. If she weren’t so confident, I don’t believe she would have the audacity to knock on Rodolfo’s door. She knows how dire her situation is, and, unlike the guys, she didn’t choose this Bohemian life. She has had to survive on her own. When she knocks on that door, she does so because she knows that if she doesn’t, she might not survive another winter. That drive to survive draws many singers to the role. And she has a quiet specialness without trying to impress others. She is beauty in its essence.
Her music is challenging because you are constantly balancing things. There is a lot of parlando writing — she often seems to be speaking, but then she breaks into the arias. You must embody that natural beauty without seeming to try too hard. There are beautiful, sweeping lines, but you don’t need to fuss with them — you just need to follow the road map that Puccini gives you because he is one of the best vocal writers ever.
Credit: Courtesy Atlanta Opera
Credit: Courtesy Atlanta Opera
ArtsATL: Why do you think this opera holds such an eternal fascination for audiences?
Long: Because this opera reveals the true feelings of ordinary human beings. The lyrics and music are so natural. “Bohème” isn’t about nobility; it’s not “Aida” or “Turandot.” Puccini focuses on a lower level of society, which was just like his own experience when he was poor and studying in Milan. You know, he shared a piano with Mascagni because neither of them could afford one! Puccini was a Bohemian when he was young, and you really feel his true-life experience in “Bohème.” It’s not some remote story because so many of us have a time like this in our life.
Reyes: “Bohème” is relatable. It’s all about relationships and how we connect with other human beings. It’s the perfect piece for novices. It isn’t overly long, it’s a gorgeous piece of music from beginning to end, and it has everything: drama, comedy, every emotion under the sun. With Rodolfo and Mimi, we see people in every stage of a relationship, from early love to jealousy to the need to cope with sickness and loss. You hear the love happening in the music. It’s masterful.
ArtsATL: What would your advice be for those who may be coming to the opera for the first time?
Reyes: Bring tissues! But also just stay open to experiencing how relatable it is. People think of opera as something far away, but, if you pay attention to this story, you will find that you are not so far removed from these people. I would advise people to go into it with an open heart. Yes, everyone is singing in a foreign language, and there are subtitles above — but many people watch Netflix with the subtitles on. What’s the difference?
ArtsATL: Is there anything you would like Atlanta’s audience to know as you both debut here?
Long: I would like audiences to know that I am not just a singer who is always thinking about technique — I am a storyteller. I want to say something to audiences, and I want them to feel something. I have sung “Bohème” multiple times and am always trying new things with it. I never get tired of it, and I want Atlanta’s audience to feel how much I love and respect it.
Reyes: I want to say how important it is to expose people to this art form. I had a humble upbringing. My grandmother came here from Nicaragua and worked in a cafeteria, but she loved the Met broadcasts and would sing along. If it weren’t for that, I don’t know that I would have fallen into studying voice. You never know who will hear you and who could be the next famous singer or pianist. My father is also a pastor, and I see his passion for his ministry. Music is my ministry.
CONCERT PREVIEW
“La Bohème.” Presented by the Atlanta Opera, Jan. 20-28. at Cobb Energy Performing Arts Centre, 2800 Cobb Galleria Parkway. $30-$355, www.atlantaopera.org
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Mark Thomas Ketterson is a Chicago-based arts critic and writer. He was the longtime Chicago correspondent for Opera News and has also written for Playbill, the Chicago Tribune and other publications.
Credit: ArtsATL
Credit: ArtsATL
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