(Photo credit: Daniel Azoulay)

Florida Grand Opera’s final production of Puccini’s “La Bohème” on May 4 was merely spectacular.

The Broward Center for the Performing Arts in Fort Lauderdale, FL was alive with the spirit of opera. The nearly 3,000-seat theatre was packed with culture, diversity, and love for the arts.

Illuminating Authenticity

The curtain rose revealing the familiar scene, not just portrayed in the famous opera, but of day-to-day roommates trying to make ends meet and stirring up antics. Rodolfo, Marcello, Colline, and Schaunard played by Davide Giusti, Craig Verm, Keith Klein, and Joseph Canuto Leon respectively, gave a natural feel to this scene. Starting off, Giusti and Verm had a lighthearted, comical energy in the opening of “Questo mar rosso.” The addition of Klein and Leon later in the quartet amped up the enjoyment of the scene. Their voices meshed together beautifully to create a powerful echoing sound. Once all five characters, including the splendidly funny Neil Nelson as Benoit were on stage, it was full steam ahead.

The believability did not stop there, for the entirety of the piece the characters were committed and all brought a sense of unity and realness to each scene. The accompaniment of Joseph Mechavich’s brilliant orchestral direction, along with scenic design by David P. Gordon (courtesy of Sarasota Opera), costumes by Howard Tsvi Kaplan, and Matt Cooksey’s stage direction, all the moving parts created a truly memorable opera experience.

Both Illica and Giacosa’s libretto and Puccini’s music lends itself to the story and the musical line, but that’s not to say it’s an easy performance to pull off. This level of production can not be done without the right people and Florida Grand Opera found a perfect match up.

Mimì and Rodolfo

From the moment Rebecca Krynski Cox entered the scene, Mimì’s connection to not only Rodolfo, but the audience’s heartstrings was evident. Giusti continued in the same footsteps by utilizing his golden tenor in “Che gelida manina,” to woo us all.

Cox’s role debut was perfectly balanced with a soft and charming portrayal of a rich, vibrant voice throughout the opera. “Si, mi chiamano Mimì” was dazzling and unforgettable. She made each repeated melody its own, and showed off the great ability of her instrument. Act one closed with a tender rendition of Rodolfo and Mimì’s duet “O soave fanciulla.”

Their chemistry continued to quietly grow during Act two. In the highly emotional Acts three and four their passionate connection continued to unfurled and grasp the audience. Cox gave an honest interpretation in the remaining Acts, but especially in “Marcello, finalmente” and “Donde lieta uscì.” She exhibited the feelings of grief, despair, realization, and love precisely. This energy was matched by Sara Kennedy as Musetta, Giusti, and Verm in “Addio dolce svegliare alla mattina!,” and in the heartbreaking Act four.

The closing Act came too soon, but left the audience with a sense of community created by the characters in “O Mimì, tu più non torni.” Cox and Giusti gave a riveting performance of “Sono andati?” Their mastery of chiaroscuro was riveting.

More Vocal Highlights

Everyone knows a Musetta – the energetic and sassy “it girl,” Kennedy portrayed this flawlessly. She was a beacon of fun and energy in “Quando me’n vo'” and throughout Act two. In the darker scenes Kennedy was able to shift the character into a sincere friend. Kennedy’s crystalline tone served all the dimensions of Musetta.

The choruses in Act two added to the brilliance of the scene. The staging, while crowded, contributed to the bohemian atmosphere and excitement. Both the adult and children’s choruses produced a clean, full, and balanced sound.