![]() This includes the lovely soprano Maria Agresta as Mimi, the shy, delicate-spirited, romantic young woman who barely ekes out a living with her embroidery and flower-making, and whose love-at-first-sight encounter with her neighbor, Rodolfo, ends in tragedy. And Jones has cast the production with singers who not only fit their roles ideally but know how to act. Puccini, of course, is a great melodist, and the score for this opera, with its Italian libretto by Giuseppe Giacosa and Luigi Illica, hardly needs more praise for its mix of the tender, the sardonic and the raucous. Maria Agresta in “La Boheme” (Courtesy of the Lyric Opera of Chicago) (De Niese has since returned to the role.) And Toomey – it should be noted at the very start – won a well-deserved and enthusiastic ovation for her vivid portrayal of the lusty, tempestuous, but heart-of-gold free spirit. However, the role of Musetta, the ex-girlfriend of the jealous painter Marcello (the strong baritone Zachary Nelson), soprano Danielle de Niese was replaced by Ann Toomey, a current member of Lyric’s Ryan Opera Center. 10 reopening, including the news that lyrical tenor Michael Fabiano would be soldering on as the poet/playwright Rodolfo despite a cold. And along with the weather came the announcement of a couple of health-related issues at the Jan. But the production, directed by Richard Jones and designed by Stewart Laing (first staged in 2017 at the Royal Opera House Covent Garden), has returned for a fittingly wintry engagement. I didn’t catch the brief initial run of Lyric Opera’s “La Boheme” this fall. Rather, this is “La Boheme,” Giacomo Puccini’s ever-popular 1896 romantic tragedy that unfolds in Paris’ Latin Quarter, and that in recent decades has become known to a whole new generation as the inspiration for Jonathan Larson’s hit 1996 musical. ![]() No, this is not “Rent,” and we are not on the streets of New York’s (formerly) down-market East Village.
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