How is it possible that I hadn’t heard of Canadian soprano Kimy McLaren? Might be because she has a French management company and performs mostly in the French opera houses (Rhin, Marseille, Rouen, Bordeaux, and Théâtre du Châtelet in Paris). En tout cas, she was the revelation of the AtG’s remount of their now alt-classic Transac La Bohème, which I managed to catch on the closing night last night. There are voices that manage to impress even in simple dialogue lines, and it was obvious that we were in for a treat during McLaren first exchanges with Owen McCausland’s Rodolfo. It’s like there’s an engine there at the centre of the voice, a perfectly controlled yet obviously powerful instrument that keeps creating beautiful sound. McLaren is an excellent actor too–subtle changes in her facial expression or body language meant a whole lot, and she makes you pay attention. Too, her voice blended sweetly with McCausland’s; a good Rodolfo-Mimi pair isn’t as easy to find, but there it was in the AtG transladaptation at the Transac.
McCausland was reliably good, his Rodolfo an earnest, thoughtful egg. Boys were uniformly excellent: Andrew Love as Marcello, Micah Schroeder as the gay Schaunard, Kenneth Kellogg as a serious, brooding Colline and Gregory Finney, extra spicy and against type, as perfectly sleazy Landlord and Musetta’s sugar daddy Alcindoro.
Speaking of playing against type, Adanya Dunn the Sexed-Up Version (Musetta) was the second revelation of the evening. There was some pretty serious action on the bar counter after the “Quando m’en vo” and that’s after she’s made her seduction tour of the chosen people in the audience and the extras (including kissing one woman, and rubbing against the back of the music director Topher Mokrzewski at the piano).
So it was special–and not only for nostalgic reasons. This production, that is, its bare minimum version, rose the AtG Theatre to prominence six years ago. They have since become a major player on the Toronto operatic scene, their imaginative takes on the classics a highlight of each season. The old La Bohème, turns out, is still good, and still has loads of that signature AtG-ian magic dust.