Reviews

Puccini's LA BOHEME

Realism, humor help 'Boheme' succeed
"SCHENECTADY -- Teatro Lirico d'Europa's production of Puccini's "La Boheme" on Sunday night at Proctor's Theatre was one of the most spontaneous performances seen in a long time. Artistic director Giorgio Lalov got his singers to communicate with each other in a realistic and often lighthearted fashion rather than just have them focus on projecting their voices. To be sure, all the singers were strong and the two female leads, Elena Razgulyieva as Mimi and Larissa Yudina as Musetta, had big voices that soared. It was a pleasure to watch the *opera* unfold. It also helped that the supertitles often had humor which made the capacity crowd laugh. The camaraderie of the four men seemed real and they all sang well together. Baritone Ilia Pavlov as Shaunard and bass Mikhail Kolelishvili as Colline each had substantial arias. Kolelishvili's aria in the final act was especially smooth and resonant. As lovers, Gonzalez and Razgulyieva had a sweet chemistry and their voices blended well. Razgulyieva's voice was clear, strong and gained strength as she went up. Her top notes were often thrilling. Because she also took her time in her arias and made the orchestra follow her, listeners could savor Puccini's melodies better. Gonzalez sometimes let loose when he hit his many top notes but other times he seemed to be holding back. He was fervently convincing when he needed to be, though. Yudina stole more than Marcello's heart. Dressed in a beautiful black dress and tossing her blond curls, she was a charismatic and marvelous coquette with a voice to match. Her famous aria in the second act was a highlight. The chorus also did nicely. Valentin Topencharov conceived appropriate sets and costumes were in a green, white and plum palette. The back scrim's scene was especially evocative of a cold winter storm.  The orchestra under Krassimir Topolov was enthusiastic and supportive."
GERALDINE FREEDMAN—THE DAILY GAZETTE - Schenectady, NY - November 2006

About Teatro Lirico LA BOHEME in Durham, NH
"The performance of La Boheme was fantastic.  The ovation went on for quite some time.  Our audience especially loved Mimi and Rodolfo.  As usual, the crew was great to work with.  We really appreciate having your company come to UNH.  Thank you again."
Mary De Turk
Johnson Theatre
University of NH - Durham, NH

Review of La Bohème
"On 1 November 2006, Teatro Lirico D'Europa presented La Bohème at the Opera House in Claremont, New Hampshire. The seven hundred seat Italian Renaissance Revival theater, which is on the US National Register of Historic Places, was built in 1897, one year after the opera's première. In 1979, the auditorium was remodeled in a manner that retained its antique beauty while adding modern necessities.

When the first act curtain opened on the bohemians' unheated garret where Rodolfo, sung by Gabriel Gonzalez, and Marcello, James Bobick, were shivering with the cold. The scene established the tone of the performance: a combination of beautiful singing and excellent acting. The tall lanky Bobick had a sonorous baritone and a devil-may-care air while Gonzalez was an attentive lover with an Italianate sound and a serious side to his personality. His voice combined wonderfully well with the silvery tones of the Mimì, Elena Razgylyaeva, and they ended Act I with a thrilling duet.

Baritone Hristo Sarafov is a consummate character actor as well as a splendid singer. He was an amusing landlord in the first scene and, in the second, an abused "sugar daddy" who was spellbound by Musetta's charms. Act II belongs to Musetta and Larissa Yudina made the most of her opportunity. She lit up the stage with her charisma, as she sang about the way passers-by looked at her on the street. A captivating long haired blonde, she was a devastating coquette as she sang with floods of radiant, lustrous sound.

Schaunard, the musician, with whom it is said both Puccini and Leoncavallo felt an association, was ably portrayed by Ilya Pavlov. Vasia Krastov was a robust Parpignol and Mikhail Kolelishvili sang the part of the book loving philosopher, Colline, with deep burnished tones. His farewell to the overcoat he was about to pawn in order to get medical help for Mimi was heart rending.

When Giorgio Lalov stages an opera, it is true theater. In this production, each singer became a memorable character who projected his story across the footlights. Valentin Topencharov's atmospheric sets and attractive period costumes helped to emphasize the plot. Krassimir Topolov conducted the orchestra with infectious verve as he brought out the many colors and details of Puccini's complex orchestration.

This was a gala evening at the Claremont Opera House that brought to mind delightful thoughts of the era in which this opera was written. At the intermission, ladies in evening gowns and gentlemen in dark suits graced the aisles and drifted down the staircase. It was a joy to hear this opera sung in setting so much like the houses of Europe for which it was originally intended."
1 November in Claremont, New Hampshire
MUSIC AND VISION DAILY - Maria Nockin - November 2006

LA BOHEME - opera done just right
"PCA Great performances has brought Teatro Lirico D'Eurpoa to Merrill Auditorium often enough so that the company has earned a good reputation. The audience was in excess of 1,700 including 2 rows of obstructed view seats. This particular road show was even better than Teatro Lirico's usually highly professional standard, and drew a long standing ovation. What made this production stand out was its emotional realism. Everything contributed to the emotional effect - the stark wintery scenery, the costumes, the acting, the well played score with full orchestra, even the choreography, which contrasted the clownish antics of the four friends with the unfolding tragedy. As Mimi, Elena Razgulyieva was simply outstanding in this role. She has a glorious voice that she can modulate to the exact tone appropriate to the scene. She is one of the few to play Mimi who leave no doubt about why Rodolfo should fall in love at first sight. Tenor Evgeny Akimov as Rodolfo was excellent. He is also a good actor and his interactions with Mimi were entirely believable. Musetta, Liubov Metodieva and Marcello, Vladimir Samsonov was also well sung and acted-light, humored and with a caring undertone. Even the walk on roles made a significant contribution to the atmosphere. PCA Great performances 75th anniversary is more than living up to its expectations."
PORTLAND PRESS HERALD - Christopher Hyde - April 2006

TEATRO LIRICO D'EUROPA LA BOHEME
MARCH 28, 2006 - BOSTON
"The star here is the consistently solid performances of this cast, and last night this cast was truly the brightest light in the sky. This year marks the ninth season of Teatro Lirico D'Europa's American tour, and the company has lost nothing of the vocal edge it had when I first viewed its performances three years ago.

Puccini's tragic story of four friends (Rodolfo, Marcello, Shaunard and Colline) who share a garret (rooftop) apartment in the Latin Quarter of France and of the women (Mimi and Musetta) who affect their lives (well at least two of them: Rodolfo and Marcello) is one of the most performed and beloved operas in our country for a very good reason: the story is a passionate one, indeed, and as often happens in Italian opera, someone with whom the audience feels great affection, dies in the end.
Puccini scored this opera using baritones and a bass to offset and contrast the lead male role of tenor, Rodolfo, for a good reason. When sung right, the male tenor's voice is the domain of a style of singing that best expresses the emotion bundled up in a character overcome with either love or grief, or as often happens, both - and do so as no other male range can. Here, once again, the voice of Russian tenor Evgeni Akimov has few matches when it comes to releasing bursts of the kind of stored vocal energy that expresses a wide range of emotion in such a way that the audience can't help but feel his pain or joy as the case may be. His voice is magnificent; his acting is on mark, and his style is relaxed, making each appearance a pleasure to the senses. His love interest, Mimi, sung by Russian soprano Elena Razgulyeva, was a picture of perfection in every way: beautiful and gifted - and blessed with the voice of an angel. Ms. Razgulyieva's Mimi was vulnerable yet strong, passive and bold, and commanding when she was on stage. Her first act arias and duets with Akimov (Rodolfo) were moments to treasure.
Both Mimi and Bulgarian born soprano Liubov Metodieva, who sang the role of Musetta, with the kind of saucy succulence, devilishly delicious, are proof, if any is needed, that beauty can be synonymous with opera and that fit performers can deliver their roles with high energy and consistency throughout, proving that when it comes to voice, weight really doesn't count. Trim works just fine. These young performers and the youthful energy they bring to the stage are the future and hope of opera and they, and others like them, will ensure opera's survival long into the future. In this opera everyone waits for a special moment, and for me that special moment is Musetta's "Quando me'n vo" in the café Momus, where Musetta feigns injury to her foot so she can take the opportunity to teasingly flash Marcello glimpses of her leg. Last night this moment didn't disappoint, especially considering that Ms. Metodieva is leggy in fishnet stockings. If I had one suggestion it would be to move the cast away from her during this number and let her do it all by herself with a hapless Alcindoro (sung here wonderfully by baritone Hristo Sarafov) looking on from the side. More, not less leg, adds to the scene's seduction and sensuality. This is one time when you don't want a crowd around; one where the technique and physique of the singer should command the audience's full attention. Singing the role of Rodolfo's other friendswere baritone Vladimir Samsonov, as Marcello, whose infections grin captivated and whose smooth baritone easily seduced the audience, even if his wig seemed a bit much (I hope that was a wig); baritone Illia Pavlov who sang the role of Shaunard, a part he has handled easily in the past, and which he handled well last night; and bass Viacheslav Pochapsky, whose philosopher character Colline, was sung with gusto. This ensemble cast was fully up to the task and delivered strong performances throughout the entire evening.The orchestra under the able guidance of Krassimir Topolov, had one or two moments where it seemed to struggle to hold its place, but overall, its performance was a good match to the cast. Indeed, Maestro Topolov's demonstrated solid control and direction through small hand gestures that, for those who note such things, kept the singers and orchestra on track throughout, contributing to the success of the overall sound of this production. It's a shame this production came to Boston for only one night. The star here is the consistently solid performances of this cast, and last night this cast was truly the brightest light in the sky." www.operaonline.us - Paul Walkowski - March 2006

BEAUTIFUL BOHEME from TEATRO LIRICO D'EUROPA
"Teatro Lirico D'Europa came into town last night with their special brand of music making performing La Boheme to a jam packed Merrill Auditorium. Tenor Evgeni Akimovís Rodolfo seemed to be of two voices: a warm, typically Russian sound that at times would give way to a slightly forced too bright of a tone. He acted with earnestness though and vocally improved throughout the evening earning the audiences affection and receiving a hearty ovation. Vladimir Samsonov's Marcello was a treat with a rich, warm resonance that made me feel the "buzz"of his vocal cords all the way in last row of the upper balcony (aurally, the very best seats in the house). He is, in
addition to being a superb singer, an operatic actor of great naturalness and resource. Vladimir Samsonov's Marcello was a treat. Rich, warm and resonant I could almost feel the "buzz" of his vocal cords all the way in last row of the upper balcony (aurally, the very best seats in the house). As Musetta, Liubov Metodieva added genuine sparkle, with her vibrant, exciting singing justly turning the famous waltz, "Quando m'en vo" a real highlight of the evening. Fellow Bohemians Ilia Pavlov (Schaunard) and Viacheslav Pochapsky (Colline) blended perfectly into this beloved quartet of artists, adding both to the
hilarity and pathos of Puccini's heartbreaker. Few things are more exciting in opera than discovering a new voice that
seems destined for big things and the night really caught fire in this Boheme with the entrance of Mimi. Making her American debut on this tour is the new Russian soprano Elena Razgulyieva whose performance was of"star-making" quality. One could sense something magical happening as soon as this doll-like creature entered the Bohemianís garrett. Razulyieva is utterly adorable and itís almost impossible to believe that such a sizeable, gleaming voice that rode over the orchestra with a Tebaldi-like strength could come from such a beautiful, petite frame. She looked exactly as a Mimi should, but too often
doesn't. Blessed with an innate musicality, every note, every gesture was integrated into a beautiful, heartbreaking portrayal of Puccini's doomed heroine. She walked off with the biggest ovation of the night appearing to be sincerely overwhelmed, almost embarrassed, by the outpouring of love
coming across the footlights. Few things beat that. I just learned young Miss Razgulyieva will be singing Butterfly here in Portland on TLD's next tour. . . I already can't wait!
Maestro Topolov and Teatro Lirico's love and passion for Puccini's youthful masterpiece came through brilliantly touching the hearts of all who attended and resulting in an extended ovation that demanded the surprised cast to return again and again to the footlights. That's how you do opera. OPERA L - G. P. Padillo - March 2006

Theater is transforming the city
" ...and most recently was the popular Teatro Lirico D'Europa's rendition of Puccini's LA BOHEME. A magnificent performance was presented to a large and appreciative audience whose thunderous standing applause was a well deserved tribute to this outstanding operatic production."
THE STANDARD TIMES - Ronald Souza - December 2005  

Teatro Lirico Pares Down LA BOHEME
"Scores of directors have tampered with Puccini's timeless opera with varying results. It was fitting that Teatro Lirico D'Europa brought a meat-and potatoes version of LA BOHEME to a sold out McCallum Theatre Sunday, minus any gimmicks or artistic license. As Rodolfo, Evgeni Akimov gave a stalwart performance that rattled the rafters with his pure tone and fine enunciation. His top range was thrilling. This is a tenor whose voice soars with spine-tingling fortitude. Olga Cherisheva's Mimi proved fully capable of the role's high tessitura demands. Marina Viskvorkina was radiant in the irresistible "Musetta's Waltz" gliding over the high tones with enviable dexterity and leading the chorus to a festive ending. The supporting cast was equally adept. Viacheslav Pochapsky's deep bass gave a dramatic heft to the philosopher Colline. Marcello was sung with robust fervor by Vladimir Samsonov. The chorus has always delivered a satisfying sound and conductor Krassimir Topolov kept the tempi zipping along in this production that brought a standing ovation from the sated audience."
THE DESERT SUN - Jeff Britton - Feb. 2005

LA BOHEME A Stunning Success
"Teatro Lirico D'Europa had a stunning success Saturday evening with a production of Puccini's LA BOHEME that would have satisfied the most ardent opera fan. Here was a production in a classic style with solid acting and depth of sound, both of which stirred the musical soul of an audience so intensely satisfied. Artistic director Giorgio Lalov has the gift of "assemblage d'art". Veselina Vasileva's Mimi was outstanding from the start with clarity and pitch "to die for" coupled with a fragile image created from inner strength. Vladimir Samsonov's Marcello was totally convincing and his detachment/attachment with the Musetta, Liubov Metodieva, a conflicted siren in her own right with a voice to match. The last scene, wonderfully staged and powerfully sung, brought the production to a pinnacle. The chorus sang very well. Super-titles, as ever, helpful, were especially well done and excellently timed. Musetta was outlandishly stunning in act 2. Kudos to Hristo Sarafov who comically played Benoit and Alcindoro as well as to Viacheslav Pochapsky who played a strong, philosophical Colline. November 2005 will witness the return of Teatro Lirico D'Europa to the Center for the Performing Arts. We cannot wait."
THE STAR (Chicago Heights) - D. K. Luksetich - February 2005

LA BOHEME - Majestic Theater Boston - January and March 2005

Jan. 2005
"Teatro Lirico D'Europa marked its 7th season in Boston with a packed Friday evening performance of Puccini's LA BOHEME and the audience clearly enjoyed what it witnessed. A strong attractive and talented ensemble backed up by a full orchestra and chorus, delivered Puccini's classic with passion, solid singing performances and even dramatic presentation. Marina Viskvorkina as Musetta was a standout performer. It was difficult to look anywhere else when she was present. Steffanie Pearce in the role of Mimi delivered her role with elegance and reserve. Vladimir Samsonov's Marcello was the perfect match to Viskvorkina's spunky Musetta. Leonid Repin's Rodolfo was more retiring, withdrawn, the pensive writer. These two strong leads were supported by the fine singing of Viacheslav Pochapsky (Colline) leading to the final death bed scene that was filled with emotion. The orchestra rose to the occasion and didn't disappoint."

Mar. 2005
"The company scheduled an Easter Day treat for opera fans in Boston , serving up a lively and energetic LA BOHEME that delivered and easily satisfied a sold out audience. Back in their roles were the wonderful trio of Ilia Pavlov, Shaunard, Vladimir Samsonov, Marcello and Viacheslav Pochapsky, Colline. They were animated, involved, and all of strong voice from beginning to end. The newcomer, tenor Evgeni Akimov literally went thermonuclear! Mr. Akimov has a set of lungs that can explode and fill a hall and leave an audience gasping. Olga Chernisheva sang the part of Mimi with energy yet managed to appear vulnerable, an interesting juxtaposition that worked on many levels. By the final scene where her illness finally overcame her, there was nary a dry eye in the house. Musetta, sung by American born lirico spinto soprano Victoria Litherland was strong, robust and feisty. She has sung this role at the New York Met, where she has worked for the past several seasons. The cast sang well together and managed to maintain a level of high energy and involvement to the very end. The orchestra, led by Krassimir Topolov deserves high marks as well and was a good match for this powerhouse cast. It was this even matching of orchestra to cast that makes live performances so thrilling when they work."
OPERAONLINE.US - Paul Walkowski - Jan/Mar 2005