The Opera Tattler

* Notes * 
Last night’s opening of La Bohème at San Francisco Opera was rather charming with great physical comedy, some lovely singing, and beautiful playing. The revived production is efficient and keeps the timing to a spare 2 hours and 20 minutes.

The production, designed by David Farley, consists of many flat pieces to depict Paris. The scenes change by separating and being able to be turned around and rearranged. Perhaps not breathtaking realistic but scene changes go very quickly and we were never kept waiting. arranged such that a new scene is revealed with simple rotation of the set. Katherine M. Carter’s direction the production from John Caird seemed perfectly suited to the piece, there were lots of laughs.

Maestro Ramón Tebar had the orchestra sounding together and very pretty. The woodwinds were particularly poignant and the strings sounded lush.

There was much fine singing and acting. Bass-baritone Dale Travis is always solid as a very funny Benoit and charismatic Alcindoro. Baritone Samuel Kidd sounds sweet as Schaunard, he moves well and is convincing. Bass Bogdan Talos was grave as Colline when needed but also very amusing when called for.

Soprano Andrea Carroll sang Musetta with a piquant sass. Her “Quando me’n vo’” was a showstopper. Baritone Lucas Meachem is a delightful Marcello, his interactions with Musetta felt very believable.

Our leads both have strong voices. Tenor Pene Pati’s Rodolfo is endearing and his voice is warm and plummy. His “Che gelida manina” was very pretty, though he seemed to struggle a bit with the duet that followed. He did better with the Act III duet. Soprano Karen Chia-ling Ho sang Mimì with a certain fragility that works nicely. She has some absolutely beautiful low notes, very rich and well-supported.

* Tattling * 
The audience seemed engaged and interested. There was an unfortunate amount of mobile phone rings in the center of the orchestra level, three times in Act I and three more for Act III.