Chicago Sun Times
- Recommended
"...In only his second appearance at Lyric (he sang Alfredo opposite soprano Elizabeth Futral in the first cast of "La traviata" in fall 2007), Maltese tenor Joseph Calleja definitely restored powerful and idiomatic singing to the character of Rodolfo. His take on the opening classic "Che gelida manina" was all one wants in this aria of bohemian self-description. His tight, fast vibrato gives an old-fashioned - good old-fashioned - quality to his singing. He matched Netrebko, an old friend and musical partner, in the famed Act One closing duet "O soave fanciulla" but kept his focus during the Act Three duet that might otherwise have become an inappropriate singing contest. Although both of these leads are "bigger" and older than Ana Maria Martinez and Dimitri Pittas, the first cast singers who better matched the age and stature of their characters, Calleja became a full member of the "gang" of young artists. And he justly earned the greatest curtain applause from the discriminating Lyric audience."
Chicago Stage Review
- Highly Recommended
"...Of course, the magic of Christmas Eve cannot last, and the final acts find the young men disgruntled, and the young ladies in search of wealthier patrons to support them. But Mimí's fragile health is failing and she wants nothing more than to die in the arms of her true love. After many months apart, Rodolfo still cannot forget her, and he is relieved when Musetta appears at his door with the desperately ill Mimí. We all know she is dying, all but Rodolfo who is blinded by his love. The tears that appeared in the audience as the lovers sang their first duet are in evidence again now, both women and men openly weeping. Real desire, real passion, real emotion flow from the stage on a wave of incomparable music. This is the transformative power of art. Brava, Lyric."
Chicago On the Aisle
- Highly Recommended
"... Russian soprano Anna Netrebko, mesmerizing in her Lyric Opera debut as the sweet-hearted heroine of Puccini’s opera “La bohème,” opened her mouth to sing Mimi’s signature aria, “Mi chiamano Mimi,” and tuned the Civic Opera House as if it were a fiddle, teasing out an extraordinary resonance as she opened up, degree by degree, until her lingering high A’s had the whole audience aquiver."
Stage and Cinema
- Recommended
"...If you're not acquainted with La Boheme you may recognize the storyline from a little musical called Rent. Despite their non-existent income and subsequent lack of heat, four artist friends exist in a happy poverty within Paris's Latin Quarter. Or at least they're happy until it's time to fall in love. The painter Marcello constantly battles with the beautiful Musetta, a commitment-phobe who seesaws between dating the poor painter and flirting with Paris' upper-class bachelors. Equally dramatic is the central relationship between the writer Rodolfo and his neighbor Mimi, a consumption-suffering seamstress. The two garret-dwellers love each other fervently but must break up due to Mimi's illness and Rodolfo's inability to care for her."
ChicagoCritic
- Recommended
"...Yet, French-conductor Emmanuel Villaume' superb direction of the Lyric Opera Orchestra, which he also lead with marked success in last seasons' Les Contes d'Hoffman is reason enough to see this production of La Boheme. Never have I heard the multi-faceted delights of Puccini's writing so convincingly displayed; and indeed I strongly doubt if I have ever heard the Lyric Opera Orchestra sound better. It is a characteristic flaw in this otherwise fine ensemble that they take twenty minutes or so to warm up. The only other time I recall their sounding this poised from the beginning was last year when Villaume was also on the podium. If Lyric is thinking of hiring a new music director they have found their man."
