Her rendition of “Si, mi chiamano Mimi” saw Agresta use excited trills as she described the flowers she made, before she launched, with charming fervour, into her step-wise exultation of beauty.
Following her bashful entrance, and momentary blackout upon Rodolfo’s table, their search for her key was both playful and charged with romance, as it led into their respective arias. In the role of Mimi, Maria Agresta was incredibly endearing in both vocal and dramatic expression. These qualities kept him at the forefront during denser, more hectic moments: such as the bustle and sound of Act two and the emotionally-charged Act three, where his concern for Mimi’s health was ripe with vocal heartache as his initial stoic façade crumbled. The resulting climatic note came with both ease and clarity, as Castronovo completed his trip back across the table to await her response.
#La boheme opera new york full#
His ardent tones were full of expression in the high B-flat on the line “chi son?” as he began to share his rich inner world with her. Following the search for Mimi’s key, Castronovo’s rendition of “Che gelida manina,” as he finally made physical contact with her, was a strong, well-supported delivery. Outstanding Leadsįresh from his work with the Berlin Staatsoper, Charles Castronovo was in fine form throughout in the role of Rodolfo. 13, 2022, saw the second performance in the Metropolitan Opera’s run of Puccini’s “La Boheme.” As the perennially-beautiful Zeffirelli production continues to delight, the evening’s cast, led by Maestro Carlo Rizzi, succeeded in bringing their passion and vitality to bear before the audience.
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