Review: Madison Opera's LA BOHEME Reminds Us To See the Beauty

"How do I live? I live!" Exclaimed Mackenzie Whitney as Rodolfo in Madison Opera's fifth incarnation of Giacomo Puccini's La Bohéme. Among the stunning lyrics speaking of love, poverty, and poetry, it was this simple exclamation that stood out on its own.

There was a somber air in Overture Hall for the matinee of Bohéme. Following in the wake of the Parisian tragedy, a mere 48 hours prior, there could not be a more fitting tribute than this beloved opera. A story about the lives of struggling artists in Paris in the 1830's does not show their destitution as a means of survival - it recounts the ways in which they thrive.

Bohéme opens on the artists trying to keep warm near a dying furnace on Christmas Eve. Rodolfo the poet, Marcello the painter, Colline the Philosopher, and Schaunard the musician. Their prayers for heat are answered when Colline (a gentle and compassionate Liam Moran) and the well-intentioned goof Schaunard (Alan Dunbar) return to the loft with unexpected riches - Schaunard's payment for doing away with a pesky parrot.

When the friends, save for Rodolfo, make their way to the streets to celebrate the holiday, a neighboring seamstress appears at the door and Rodolfo is smitten. Fragile Mimi, sung by soprano Eleni Calenos, croons sweet nothings that blend harmoniously with Whitney's vibrant tenor. The two shine brightest when performing their duets which, as the production draws to a close, becomes a haunting reminder that their love cannot die.

Whereas Marcello and the flirtatious Musetta's romance ignites the stage in their passionate and jealous fire. Bartione Dan Kempson performs the role of Marcello with fervor though that energy doubles in Emily Birsan's Musetta. Rife with ambition and a confidence, that separates her entirely from the other women in the opera, Musetta strings the men in her life along until she is ready to cut ties. But her nonchalance not fully hide her good heart from those who truly know her.

With the starry-eyed notions of the impoverished artists sending notes of hopefulness into the theater, murmurs of similarities to another production began to emerge.

"It's just like Rent" was the phrase that reverberated around me from others in the audience.

It's not like Rent, rather, Rent is like Bohéme. It is an homage to one of the world's most beloved operas. Perhaps that's why there seemed to be a larger variety of people at that particular performance - because a younger demographic of patrons feel a connection to the century old masterpiece. Or, perhaps, it has to do with the fact that Bohéme speaks to a longing for love and a brighter future which most young people strive to achieve. Or, as one could hope, it is because Madison Opera's performances propel the artform above and beyond expectation.

Audiences were transported to a by-gone Paris in a breathtaking set borrowed from the Lyric Opera of Kansas City.

Black facades of a cityscape loom large above the dreary Latin Quarter garret. Each break in the action, be it a 'pause' or intermission, brought with it new scenery to behold. One such transformation incorporated the city gates and snow drifting quietly from the heavens.

Illuminating the story with intense accompaniment is conductor John DeMain and the Madison Symphony Orchestra. Their illustrious musical movement guides the singers through the beloved arias with grace. Each act of the opera gives the musicians new territory to explore and conquer as they flow between dreamy songs of love and pithy heartbreak.

The Paris we know is a city of light and color - though that is only highlighted in Act II with a sea of vibrant chorus members in the streets of the city. What the Bohemian artists know the city to be is just as beautiful, although they find themselves living in the unkempt shadows. That part doesn't matter. They see past their circumstances and choose to see beauty, light, and love.

The artists found their poetry in the world and we must find ours.

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