Now entering their third season, Cowtown Opera has become known for their innovations in the local world of opera, including their popular sing-a-long series and their Calgary-centric takes on classic operatic pieces. The show that is currently running, La Bohème, is a stellar start to the season, and an enchanting mix of stunning voices, familiar references, strong musical accompaniment and a chemistry that pulls the elements together into a cohesive whole that soars past in two fast hours.
You might know the original story of love and loss, told against a backdrop of Paris in the 1800’s. Rodolfo, Marcello, Schaunard and Colline are planning a night on the town (on Schaunard’s newly earned dime) when a chance encounter with the candleless Mimi steals Rodolfo’s heart, while Musetta rekindles her affair with Marcello. If you know the story, you know the rest. If you don’t, I won’t spoil the ending for you, because you really ought to go see what Cowtown Opera has done with this story.
Gone is 18th century Paris – we’re now back in modern Calgary. The friends don’t go to Cafe Momus – they head for beers at the Ship and Anchor. And jealous Rodolfo? He’s not just a poet – he writes for Fast Forward. But don’t worry, the essence of the original is not lost to the change of scenery.
I would be remiss if I didn’t point out Michelle Minke as the most exquisite voice out of a collection of incredibly fine vocal performances. Her rendition of Mimi was wonderful, ranging seamlessly from blushing lovebird to tormented sunset with a sincerety that captivated the audience. Of course, this isn’t Minke’s first rodeo – she has sung to acclaim with the Calgary Opera, alongside the Philharmonic Orchestra, and has traveled the country on the power of her incredible voice. Her presentation of Mimi completely filled the Lantern Church, vibrating the air in your lungs with the emotion of her parts.
Part and parcel with her tremendous performance was her on-stage chemistry with Rodolfo, a role completely absorbed by Ryan Harper. His hipster take on the character was immensely likeable, coyly loveable, and beautifully covered the range between comedy and tragedy. You could see the instant infatuation for Mimi blossom in his reaction to their meeting – more than the voice you would expect, Harper owned the tiny stage with his projected emotion, and his raw reaction at the end of the opera (no spoilers, I promise) brought many in the audience to tears of empathy.
Another pair with interesting interactions on stage were Jeremy Ludwig and Lauren Woods in the roles of Marcello and Musetta, respectively. Ludwig was particularly adept at showcasing the torment that his character suffered at various points in the performance – his strong voice a good match to his body language and facial expressions. Woods, as the story goes, was pitch-perfect as the object of Marcello’s desire – and torture – and led him about the stage like a wounded puppy on a leash. I remember her performance from Cowtown’s sing-a-long of the Phantom, and once again, her voice was one of the most powerful of the night, a compelling mixture of sly and playful at times, and filled with raw emotional vulnerability without losing anything to the intensity.
Nathan Keoughan and John Conlon were well suited to their roles as the friends of the pair of lovers; Keoughan’s philosophic Colline was perfect, a timeless rendition of the university student philosopher, with a voice that carried his lines with a delightful touch of irony and playfulness, when required. Conlon’s Schaunard was perhaps one of the more compelling character studies, as he was perfect in his struggle with his empathetic helplessness towards the end of the performance.
It would be an insult to the quality of the voices on display to refer to the other characters as supporting, but their strong foundations helped to create the base of the story. The gaggle of giggles that inhabited the fictional Ship brought a merriment to the setting, and made for a perfect parody of a lively bar scene. A special mention has to go to Kevin Tay, whose infectious smile as a ‘Ship patron was enchanting.
Of course, no opera is complete without the proper musical accompaniment, and Jèrèmie Pelletier’s piano was so good, you might be tempted to forget that he’s there. If he missed a note, I didn’t hear it – a perfect performance that was better than a recording. His piano complimented the vocals wonderfully, never overpowering but never halting, either.
There were still seats left for Friday night’s performance, which was a shame – this show had to rank among the best performance available anywhere in the country that night. If you have missed out so far, you still have two chances to redeem yourself – Saturday at 7:30pm and Sunday at 2:00pm. Tickets are $42 for adults, and $38 for students and seniors (and you can still get them online here). But don’t hesitate – once this show ends, there won’t be another performance by the Cowtown Opera until March of next year, and you can’t afford to wait that long.
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