The result is a production with a nostalgic feeling, quite appropriate for an opera saturated with nostalgia. Stage Director David Gately had to work fast to assemble a production, so he opted to use sets and costumes already in Seattle Opera's possession. Michael Chioldi as Marcello, Brandie Sutton as Musetta, Kang Wang as Rodolfo, Keri Alkema as Mimi, and Theo Hoffman as Schaunard in Seattle Opera's La Bohème - Photo by Sunny Martini
The children's chorus was eliminated, and both orchestra and chorus were about half the usual size. In addition, the singers wore masks in rehearsal, and some of them hadn't seen each other's unmasked faces until opening night. When public health guidelines were updated about a month ago, Seattle Opera decided to go ahead with a live performance and a full house - with everyone in the audience required to present proof of vaccination and to wear masks in the building at all times.
Until very recently, it wasn't clear that a live indoor performance would be possible at all, and then it wasn't clear how many people would be permitted to attend.
And when conductor Joseph Colaneri took his place and waved to the audience, cheers erupted along with the customary applause.įortunately, the production was not terrible, and in many ways it was heroic. There was another huge ovation when she said, "We are here because of science." And another when she reminded us that we will never again take live music for granted. People applauded and cheered wildly when General Director Christina Scheppelmann came out before the performance and said - for the first time in nearly 20 months - "Welcome to Seattle Opera at McCaw Hall." The production could have been terrible, and it almost wouldn't have mattered. If there was ever an audience eager for a live opera performance, it was the one for opening weekend of La Bohème at Seattle Opera. Opening weekend, October 16-17 (on stage through October 30) By Giacomo Puccini, libretto by Giuseppe Giacosa and Luigi Illica
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