(Photos: Evan Zimmerman / Met Opera)

The Metropolitan Opera’s spring cast for Franco Zeffirelli’s production of Puccini’s “La Bohème” left a lasting impression through this most iconic work.

Conductor Yannick Nézet-Séguin, Jeanette Lerman-Neubauer Music Director of Met Opera, made the night fun and engaging for audience members of all ages and backgrounds, along with a stellar cast of voices including soprano Corinne Winters, tenor Dmytro Popov, baritone Anthony Clark Evans, bass Alexander Köpeczi, soprano Gabriella Reyes, baritone Sean Michael Plumb, baritone Donald Maxwell, the Met Opera Chorus and Children’s Chorus. Costumes by Peter J. Hall and lighting design by Gil Wechsler brought to life one of opera’s most beloved masterpieces, making humanity the focal point of great art for a reason.

Stellar Cast

Soprano Corinne Winters returned to the role of Mimì after 10 years, and this production also marked the soprano’s return to the Met after her debut in 2011 as Countess Ceprano in “Rigoletto.” Winters’ voice is lush and full of vitality that projects with ease into the Met’s hall. Her opening aria, “Sì. Mi chiamano Mimì,” immediately showcased her excellent Italian diction and beautiful vowels. Every note Winters delivered was graceful. Her emotions were pure, and her acting came across as natural. Her vocal agility was a major highlight of the night and her breath support allowed her to connect every phrase to the core of Mimì’s story while not getting lost in the drama. “Donde lieta uscì” was grounded in Winters’ middle range, and when she stretched into her upper register, it was breathtaking. I also watched as conductor Nèzet-Séguin gently guided her and the orchestra along together in a moment that felt perfectly synthesized. Nèzet-Séguin’s joy transcends crucial moments like this, and I am always in awe of his work with singers, especially during this aria with Winters. I also felt that Winters’ sense of agency was what drove her the most during her performance. She stands out from other Mimìs in a way that is uniquely her, making this Mimì feel even more precious and one I want to experience again.

Tenor Dmytro Popov as Rodolfo was the perfect match to Winters’ Mimì. There was a fondness between the two and Winters’ elevated vocal technique brought out the best in Popov’s Rodolfo. The tenor’s voice is gentle yet powerful at the same time. His resonance is full-bodied but there is a sweetness in his higher register that makes his sound more vulnerable and genuine than most tenors. OperaWire reviewed Popov’s performance in the December production of “La Bohème,” and on this occasion, I felt like I was revisiting a dear friend. There is a sense of comfort in Popov’s voice, an authenticity and likeness that carries beyond the stage. I watched Popov’s castmates take delight in his presence and performance, too. There was a palpable and special bond among them. In his opening duets with Mimì, “Non sono in vena!,” “Chi è là,” and “Si sente meglio?,” Popov’s voice was in perfect balance and technique. His warm timbre gave depth to his higher register, as Winters’ soprano soared into bliss with his tenor. I especially enjoyed Popov’s “O soave fanciulla.” His ardent love and passion for Mimì was excruciatingly beautiful, soft, and moving. The tenor’s voice reflected his thoughtfulness of character, allowing his voice to lead him forward and be his guide. I was also impressed with how present he sounded, he came across as grounded and moved with intention.

In his final duet with Winters, “Sono andati? Fingevo di dormire,” Popov showed the most genuine care and concern towards Mimì that really made a difference in the production as a whole. The entire opera led up to this final scene when everyone comes together to experience being human, embracing one’s own mortality in plain sight. The cast bonded together and Popov mirrored the crushing realization in real-time of how life is ultimately subjected to change in the blink of an eye – Mimì’s death underlined this universal understanding because of Popov’s ability to create space for it to happen. His actions and voice came from somewhere deep within him that invited the audience to feel like they were processing Mimì’s death for the first time, no matter how many times they’ve seen “La Bohème.” It’s the simple gestures and intelligent use of space and silence between singing and acting that can make or break a scene as crucial as this one. Popov and Winters rose to the occasion, and when conductor Nèzet-Séguin cued the orchestra’s final passage, there was a stillness that permeated the hall, revealing death’s shadow and the impermanence of all that is.

More Cast Highlights

Bass Alexander Köpeczi as Colline gave an outstanding performance for his Met debut. His aria, “Vecchia zimarra, senti,” was inspiring and crushing at the same time. His bass is attractive in its timbre, and his vocal agility is more prominent than most. Köpeczi always had his vocal eye on the next phrase and developed his line towards this point. He knew where he was going and went there vocally. This aria can either drag along or become something more, and Köpeczi took this moment somewhere beyond. It felt like time had stopped when he concluded. He made one feel like they were in the same room as this close group of friends, mourning the quickly approaching death of a dear friend, and surrendering his overcoat was only the beginning.

Baritone Anthony Clark Evans as Marcello was also outstanding. His opening exchanges with Popov’s Rodolfo and Köpeczi’s Colline, “Questo Mar Rosso,” “Pensier profondo,” and “Abasso, abbasso l’autor!,” and “Legna!,” were especially fun and exciting. Baritone Donald Maxwell as Benoit/Alcindoro always makes for a nostalgic Met opera performance. Honestly, Maxwell is one of my favorite Met opera performers, and his classic interpretation of these two roles is iconic.

Baritone Sean Michael Plumb, a Richard Tucker Foundation Grant recipient, as Schaunard, was also a classic choice and has performed a solid vocal run in this season’s production as a whole.

Soprano Gabriella Reyes, Graduate of the Lindemann Young Artist Development Program, as Musetta absolutely stole the show during her aria, “Quando m’en vo (Musetta’s Waltz).” Her brilliant use of the stage and space in between made Musetta feel larger in life, both as a personality and voice. The audience was enthralled with Reyes’ performance as they sat forward in their seats, waiting for her next emotional plunge. Her soprano sounded enriched and enthusiastic in the Met’s hall. Conductor Nézet-Séguin had a blast during this scene, particularly, making one feel like they were in on the jokes and fun along the way.

Overall, this was an enjoyable “La Bohème,” a perfect way to close out the season’s run.