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Reinert proves a “Provocative” Rodolfo
The most provocative performance of the night was Christian Reinert‘s Rodolfo. In Act I, Reinert’s textbook carriage and technique, along with his habit of keeping his arms stiffly by his sides, seemed to border on the inexpressive. But eventually the tenor’s refusal to play a conventional, effusive romantic hero won me over. His Rodolfo was a kind of socially stunted intellectual — one who would fall in love with a stranger at first sight, make awkward chauvinistic threats (“I would never forgive such behavior as [Musetta's]“) and come up with the strange idea of leaving his sick lover by feigning sociopathic jealousy. One result of Reinert’s apt performance was to make friendships in the story feel more textured: he and Marcello seemed as different as the libretto intends them to be. Furthermore, Rodolfo, Marcello (Stephen Hartley), Shaunard (Stephen Lavonier) and Colline (Branch Fields) succeeded at registering as individual characters, rather than a gang of appealing but undifferentiated bohemians. And that always-rewarding moment of platonic commiseration between Marcello and Mimì in Act III made all the more sense in light of Rodolfo’s eccentricities.
Read the entire review here at Opera News.