The reviews are in for Emily Birsan, soprano​ and David Angus​ in Boston Lyric Opera’s “La bohème”!

10.07.2015

 

“As the flummoxer-in-chief, the café singer Musetta, soprano Emily Birsan drew all eyes to her with a slinky, hair-tossing performance and seductive singing. . . Conductor David Angus and the BLO orchestra effectively evoked all the opera’s moods, from the moonlit romance of Act I to Act II’s brassy street scene to Rodolfo’s anguish at the end. – Boston Classical Review

 

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“BLO music director David Angus’ work editing the score and on the podium kept Puccini’s direct, forward thrusting music largely intact. The orchestra played alertly, with enthusiasm and articulation.” -ArtEry.com

 

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“As the coquettish Musetta, soprano Emily Birsan was a delight. Her spirited rendition of “Musetta’s Waltz,” the best-known number from the opera, was a highlight of the performance. . .The five performances of the BLO “La Bohème” are being conducted by the company’s principal music director, David Angus. Maintaining a seamless lyrical line, he pulsed the opera forward with just tempi. He managed to extract top-notch playing from the orchestra for this “La Boheme””-Edge Media Network

 

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“A solid cast sang affectingly on Friday. . . Emily Birsan capably sang the role of Musetta. . . Conductor David Angus emphasized forward motion in the pit, and the orchestra responded.”
-Boston Globe

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“Soprano Emily Birsan brought a light, lilting soprano to the role of Musetta, spinning a lightning-quick vibrato with the same kind of agile effortlessness with which her character ensnares romantic prey. . . Birsan was not without subtlety; she too possesses remarkable control over her instrument, and gave a multicolored delivery of “Quando m’en vo”, cooing the nightclub-act take on the aria with all the soft-but-unambiguous sultriness of a seasoned chanteuse. Birsan avoided falling into the trap of one-dimensionality inherent to a comic secondary lead; in the fourth act, she demonstrated range with a fervent and desperate prayer for Mimì’s delivery from imminent death. The audience was able to see the human being beneath Musetta’s vampy antics as Birsan sang with a warmth and vulnerability only hinted at in the preceding acts. Coupled with Kaduce’s three-dimensional, emotionally mature Mimì, Birsan brought great poignancy to the scene as a whole, her prayer lending new weight to the moment when Mimì exhorts Marcello to forgive Musetta’s dalliances and reconcile with her for good.” -Boston Musical Intelligencer

 

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