La Bohème

Composer: Giacomo Puccini
Libretto: Giacosa and Illica, after Henri Murger’s novel Scènes de la vie de Bohème
Venue and Dates: Metropolitan Opera House, New York
9, 13, 17(m), 21, 24 March 2001
Conductor: Steven Crawford
Production: (Franco Zefferelli’s production from 1981)
Performers:
Mimì: Miriam Gauci [Debut] (except 21) / Elena Evseeva (21)
Rodolfo: Frank Lopardo
Musetta: Ainhoa Arteta
Marcello: Gerald Finley
Schaunard: Earle Patriarco
Colline: Richard Bernstein
Benoit: Thomas Hammons
Alcindoro: Thomas Hammons
Parpignol: John Hanriot (9, 13) / Jeffrey Mosher (17, 21, 24)
Sergeant: Roger Andrews (9) / Richard Pearson (13, 17, 21, 24)
Officer: Robert Maher (9) / Garth Dawson (13, 17, 21, 24)

Notes: The performance on March 17 was broadcast

What the critics say

NY Times, 9 March 2001

http://query.nytimes.com/gst/fullpage.html?res=9C07EFD7163AF93AA35750C0A9679C8B63&scp=94&sq=Gerald+Finley

A selective listing by critics of The Times of new or noteworthy opera, classical music and dance events this weekend in the New York metropolitan region.

Franco Zeffirelli’s hyper-detailed, cinematic staging of this Puccini classic has been a staple of the Met repertory since 1981, and it is back with a cast of young singers that includes Miriam Gauci, making her debut as Mimi, Ainhoa Arteta as Musetta, Frank Lopardo as Rodolfo and Gerald Finley as Marcello. Steven Crawford is the conductor.

Leighton Kerner, Opera News, July 2001

Several Met productions previously reviewed featured new casting in performances this spring… Two La Bohèmes (March 13 and 21) seemed almost like non-events. In the first, Miriam Gauci’s second Met Mimì was correct, respectable, modestly charming but nothing more. On March 21, Elena Evseeva’s first Met Mimì was like Gauci’s, only a little duller. Both performances featured Ainhoa Arteta’s mostly brash and chilling Musetta; Frank Lopardo, Gerald Finley and Richard Bernstein singing well and acting lively as, respectively, Rodolfo, Marcello and Colline; and conductor Steven Crawford as an energetic improvement over Marco Armiliato earlier this season. Gil Wechsler’s lighting scheme for the first two acts has gotten so dark that one could no longer see the chimney-smoke from neighboring houses or much of the crowd above the Café Momus.