Mary Evelyn Hangley / Reseñas

Minnesota Opera’s prior production of Puccini’s “La Bohème,” first seen in 1996 and revived in 2002 and 2010, was an exercise in hyper-realism, a look at life and love in the Latin Quarter of Paris that emphasized the grit and poverty in the lives of struggling but hopeful young artists. The production, with strong casts most of the time, was a success. The company’s new “Bohème,” unveiled at the Ordway Music Theater Saturday night as the finale of its 54th season, is similarly realistic, which is basically the only intelligent way to present this opera. Heavy directorial concepts don’t work well with “Bohème.” The new production, like the old one, takes us to the not-so-glamorous low-rent district of Paris. The artists live in a shabby one-room garret with a single twin-size bed that apparently can accommodate four fairly large men. The others contributed mightily. Edward Parks played a sympathetic Marcello, singing with a commanding baritone. Also excellent were Benjamin Sieverding (Colline) and Thomas Glass (Schaunard). Ben Crickenberger made two usually exaggerated roles, Benoit and Alcindoro, quite believable. Mary Evelyn Hangley delivered a winning and ultimately tender-hearted Musetta, singing the famous Waltz with impressive pizazz.

San Francisco Opera has enlisted a vocally and dramatially impressive cast for German composer Engelbert Humperdinck’s “Hansel and Gretel”. The expanded 65-member San Francisco Opera Orchestra resounded elegantly in the War Memorial Opera House. This a “must-see” holiday experience, sung in an enchanting English translation. Texas mezzo-soprano Sasha Cooke and Wisconsin soprano Heidi Stober were convincing as the starving siblings Hansel and Gretel. Stober adds the mischievous Gretel as the 12th lead role she has sung at San Francisco Opera. Her Gretel was an insightful portrait as a self-assured, graceful young girl, singing beautifully with clear diction. San Francisco Opera General director Matthew Shilvock announced prior to the performance that Michaela Martens, cast as Gertrude, was ill and that her place would be taken by New York mezzo-soprano and first year San Francisco Opera Adler Fellow Mary Evelyn Hangley.