BWW Reviews: Soprano Sonya Yoncheva Brings Voluptuous Sound to Debut in Stellar Ensemble of Met BOHEME

Puccini's LA BOHEME has that magical ability to change its shape depending on the cast. When Pavarotti sang, it became his opera, with a Mimi hard pressed to take the spotlight, even in her death scene. When Stratas, Carreras and Scotto (as Musetta) led the cast, it became a glittery ensemble of shooting stars. At this week's performance with rising star Bulgarian soprano Sonya Yoncheva as Mimi, there was no doubt that she was the evening's "it" girl, even though the other principal singers added mightily to the performance's success.

A convoluted role debut

Yoncheva was on maternity leave when she was asked by the Met to step into a few performances of BOHEME, replacing Kristine Opolais (the Met's marvelous BUTTERFLY last year), who had been called in to replace Anna Netrebko when Trebs pulled out of a new MANON LESCAUT in Munich over "artistic differences." Phew!

To make matters more difficult, she had never done the role before, though she'd been scheduled to sing it in San Francisco when motherhood called. Complicating it even further, Italian tenor Franscesco Demuro was the latest in a line of Rodolfos in the production this season, thanks to a worse than average cold-and-flu season.

Poise, charm and oceans of voice

So had did she do? Very well indeed. You'd hardly know that these were her first Mimis, with her poise and charm and oceans of voice. From the moment Yoncheva opened her mouth to sing "Mi chiamano Mimi," her performance seemed so truthful that when she put all the blame on Rodolfo for their relationship issues, one didn't doubt it for a moment [though we knew better]. She was center stage, even when she was in her final moments before death, boldly thinning her voice just before she expired.

Demuro was very much an ensemble player--this was not a star performance by any means. Compared to Vittorio Grigolo's rambunctious Rodolfo last season, Demuro was a model of restraint, which was a good thing and, in this opera, it can work. But his sweet, lovely voice seemed a little bit small for the Met, particularly since conductor Riccardo Frizza seemed rather unsympathetic to the voices, sometimes overpowering the trio of bohemians at the start of Act I. (The orchestra was in wonderful form for this great music, but often too loud, thanks to Frizza.) No question--Demuro had the notes, but not necessarily enough voice or personality.

Marcello and a wildcat Musetta

As Marcello, usually sung by a baritone, Serbian bass David Bizic was a forceful, mellifluous presence and certainly a match for the wildcat Musetta of American soprano, Susanna Phillips. She was, as with most Musettas, a little over the top in the Café Momus scene, but she was fun to watch and hear, in what is my favorite of her roles. She stood out, even in her more low-key scene in Act IV.

As Schaunard, the role of his Met debut last week, Italian baritone Alessio Arduini, made a big impression and ready to move into larger roles at the Met. His lively personality and suave tone added noticeable heft to the ensembles. John Del Carlo, the America bass-baritone, was a grand presence in the two comic roles of the landlord, Benoit, and Musetta's elderly escort, Alcindoro.

The Zeffirelli production

One can't talk about the Zeffirelli production (with costumes by Peter J. Hall and lighting by Gil Wechsler) without giving a shout-out to the Met's marvelous chorus and chorus master Donald Palumbo. The boisterous Act II wouldn't be possible without them, of course, but the farm women who enter at the start of Act III, set the poignant mood for the troubles to come.

The production, here under stage director J. Knighten Smit, is remarkable in its ability to absorb quickly rotating casts without damage to this most melodic of scores. According to the Met's program notes, Puccini was "a remorseless perfectionist" who struggled mightily with the librettists, Illica and Giacosa, to get what he wanted out of opera. Lucky for us, he succeeded.

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Photo: Sonya Yoncheva as Mimi, with Brian Hymel as Rodolfo, earlier this season

Photo by Ken Howard/Metropolitan Opera

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