On June 8, Verizon Corridor, the group’s dwelling since 2001, was rechristened in honor of Marian Anderson, the legendary Philadelphian who broke the colour barrier on the Metropolitan Opera. In between that occasion, Yannick Nézet-Séguin performed semi-staged live performance performances of the enduringly standard La Bohème with a boldface solid of soloists.

The world could know Nézet-Séguin primarily by his work in opera, however within the Metropolis of Brotherly Love, you’re extra prone to discover him helming a Bruckner symphony than a verismo masterwork. Maybe the mix of such novelty and the title recognition of Puccini’s traditional led to sold-out performances: hardly ever on a summer time weekend with good climate have I seen this corridor packed to the rafters. The forces typically delivered the thrilling immediacy that opera can present, though the outcomes weren’t all the time pitch good.

Though the style may not be the Philadelphia Orchestra’s mom tongue, the musicians proved themselves adept at code-switching from the primary downbeat. Regardless of the dearth of units and costumes, their wealthy, enveloping sound transported the listener instantly to the chilly garret of the primary act, gaining in heat as Rodolfo torches his play in lieu of firewood. The brass communicated the jollity of Christmas Eve in Act II, and Nézet-Séguin lowered the sound to a whisper for the frigid Act III morning.

All through, Nézet-Séguin was expansive with rubato, although by no means dragging, and the detailed studying highlighted fantastic instrumental interaction all through: the beautiful dialogue between flute and viola in “Mi chiamano Mimì”; the doleful violin solo in “Donde lieta uscì” (performed by affiliate concertmaster Juliette Kang, who occupied the primary chair for these performances); and the light primacy of the harp all through the rating, splendidly carried out right here by Elizabeth Hainen.

When the Orchestra introduced Tosca in 2018, they made the error of making an attempt a completely staged interpretation. This resulted in a bunch of foolish concessions that dampened the drama and distracted from the eager musical virtues (I’ll always remember a stagehand strolling out and shrouding the Scarpia in a white sheet in order that he may exit after his dying). Nézet-Séguin engaged the Met’s govt stage director Paula Suozzi to craft a stage image that was dignified, if not all the time profitable.

The principal singers occupied a raised platform erected in entrance of the choir loft—much like the configuration that Cleveland Orchestra has used for a lot of of its opera productions. A row of chairs served as the only real props, and the singers entered and exited because the scenes flowed, somewhat than remaining constantly onstage. Relatively than costumes, the principals wore tasteful night apparel that communicated their characters’ personalities within the second: a fiery purple sequined gown for Musetta on the Café Momus; a tasteful white shirt over a floral skirt for Mimì within the last acts.

Some questionable decisions remained. When Musetta instructed Marcello to promote her earrings to purchase Mimì’s muff within the final act, why didn’t singer Leah Hawkins take away her personal baubles—or a minimum of return from the wings with out them? Why did Alexey Lavrov’s Schaunard flounce across the stage like a music-box ballerina? And through “O Soave Fanciulla,” why did Nicole Automobile and Stephen Costello stand and face the viewers somewhat than expound on their budding love to one another? Longer rehearsal time doubtless may have led to sharper characterizations, however general, the staging had a easy, refined high quality that was most welcome.

Prime vocal honors went to Christian Van Horn, whose lyrical rendition of Colline’s coat aria justifiably earned the loudest ovation of the night time. I can’t wait to listen to what intriguing colours he’ll carry to Bluebard subsequent week at Carnegie Corridor.

Automobile made for a lusciously full-voiced Mimì and acted the function compellingly. Some pianissimo notes emerged at full voice, and her assist often faltered in long-breathed phrases. When she raised her arms above her head close to the tip of “Mi chiamano Mimì,” I briefly thought I used to be watching Eva Peron deal with the descamisados from the balcony of the Casa Rosada—however she shined in all of the moments that rely.

Hawkins introduced acres of persona to Musetta, though she appeared extra at dwelling when speaking her vivacious vitality in Act II than her wealthy humanity in Act IV. Sadly, there was valuable little chemistry to be discovered with Adam Plachetka’s Marcello. Plachetka started the efficiency in robust voice however sounded hoarse and wobbly by the tip of the night, his initially wealthy tone turning wan and grey.

Costello, a hometown hero making his Philadelphia Orchestra debut, struggled all through. Nézet-Séguin’s forceful enjoying typically lined his bantamweight instrument; in “Che gelida manina,” the maestro turned the Orchestra’s quantity down to at least one in order that he might be heard. However would you need to hear such pale tone, fixed scooping, and excessive notes that gave the impression of a dying rattle? Costello additionally regarded consistently bored and disengaged all through the efficiency, and appeared to don’t have any conception of character for a job that’s central to his repertoire. You would stroll 4 blocks up Spruce Avenue to the Academy of Vocal Arts and discover a half-dozen first-year tenors who would do the function extra justice.

Nézet-Séguin imported the Met’s retiring refrain grasp Donald Palumbo to arrange the Philadelphia Symphonic Choir. The end result was boisterous in Act II and completely nonetheless in Act III, with members of the refrain choosing up characterful solos right here and there. The Philadelphia Boys Choir and Philadelphia Ladies Choir (directed by Jeffrey R. Smith and Nathan Wadley, respectively) have been ebullient of their assignments.

Subsequent June, the Philadelphians will tackle their maybe most daunting operatic problem up to now: a whole efficiency of Tristan und Isolde. Judging from this Bohème, they appear on their method to making their new namesake proud.

Picture: Jessica Griffith