Her lower notes sound grounded and her higher ones are secure yet have a nice fragility as is appropriate for the character.
Voulgaridou makes for a sympathetic Mimì. Her voice seemed pleasantly chirpy compared to the darker hues in Alexia Voulgaridou's soprano. Christian Van Horn sang Colline with tenderness and jocularity. Hadleigh Adams (Schaunard) was difficult to hear over the orchestra in Act I, but his Act IV performance was poignant. The youthful, attractive cast members looked and sounded perfectly believable in their roles. The whole orchestra sounded splendid in the finale. The harp sounded especially beautiful throughout the opera. The volume and speed of the orchestra was overwhelming at times in Act I, but certainly improved over the course of the evening. The performance, conducted by Maestro Giuseppe Finzi, sounded a bit rough at first. John Caird's humorous direction read well from the very back of the house, the movements may have been hyperbolic when taken closer at hand. Though not substantial, this did facilitate the graceful transitions between acts. David Farley's production design consists of fairly flat scenery arranged such that a new scene is revealed with simple rotation of the set. A new production of La Bohème (Nadine Sierra as Musetta, Michael Fabiano as Rodolfo, Alexia Voulgaridou as Mimì, and Alexey Markov as Marcello in Act IV pictured left photograph by Cory Weaver) opened at San Francisco Opera last night.
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