Dallas Opera February 13 15, 18, & 21, 2009
By Dean Cassella

This production of Puccini’s most beloved work is one of the finest I have ever had the pleasure of seeing. It is one of those rare moments in opera when the casting works, not only for each individual role, but the singers’ voices, acting, and even their physiques blend naturally together. Top this off with exciting, dynamic conducting, and you have the making of a night to remember.

The real star of the show is lyric tenor James Valenti, who pulls off the role of Rodolfo, the lovable impoverished poet, without missing a step. Valenti, a native of New Jersey, is performing with the Dallas Opera for the first in this production of La Bohème.  He has a full, fresh voice that is matched by a tall figure and handsome features. Valenti’s face has ‘leading man’ written all over it. His expressive range is broad, and he adeptly pulls off moments that require great vocal power, as well as the subtlety and refinement to handle those tender moments that are inevitable in romantic tragedy.

Now in his sixth year on the boards, Valenti’s personal story is one that may prove increasingly common in the fine arts. He does not seem to have had a background in classical singing. But the nurturing of a astute music teacher led him into opera at age 18. Valenti then became obsessed and seven years later found himself on the professional stage. I haven’t had as much fun listening to a tenor live since Antonello Palombi sang the lead role in Pagliacci at the Dallas Opera in 2005 (oh, how I wish I had a DVD of that production!). 

Kanyova singing in the 2005 production of Pagliachi. NY Times photo.

Speaking of the 2005 Pagliacci, the prima donna of that production, Maria Kanyova, is back in the role of Mimi.  I hate to use a worn out cliché, but from the moment Ms. Kanyova opens her mouth, it sounds like a bird has flown into the theater. Her voice is sweet and rich, and possesses a pleasingly lilting vibrato. She also can act. Kanyova and Valenti are perfectly matched in their duets and the result is thrilling. 

Also worthy of note was Valentina Farcas’ performance as Musetta, the coquettish sometime-belle of the painter Marcello (this time performed admirably by Dwayne Croft).  Like Kanyova, Ms. Farcas has all of the goods, and delivers not only in the voice department, but also in her acting.

The production also marks the U.S. premiere of guest conductor Pietro Rizzo. Although Maestro Rizzo hails from Rome, Italy, he is no stranger to the Metroplex: he is a graduate, in violin performance, from SMU. Under Rizzo’s leadership, the orchestra was bristling with energy, mixed with occasional forays into Levinesque slow pacing. He really seemed to have a natural rapport with both the orchestra and the cast.

Jean-Pierre Ponnelle must hold some kind of world record for the most number of set designs still in use after death.  Ponnelle passed away over 20 years ago, but his beautiful sets just keep coming back (to Dallas and the world). In this case he made use of a raised platform in the middle of the stage for most of the action, around which various backdrops serve as changes of scene.  Kudos also to Thomas C. Hase, whose lighting was unusually effective in this production.

As is usually the case, I took along one of my children.  This time it was my son, a pre-teen opera hound, if there ever was one. He had never seen Bohème before, and genuinely seemed to enjoy it. In particular he enjoyed the finale, with all the reprises of the various themes found throughout the work. He also got a kick out of the clowning around done by the artists in the swinging bachelor pad. La Bohème is, in a way, a tragi-comedy. 

Editor’s note: If you want more of James Valenti singing La Boheme, there’s another, longer YouTube Video, of 4.45 minutes of “che gelida manina” but it doesn’t have action, just stills.

Next up for Dallas Opera: The Italian Girl in Algiers.