January 2005

Teatro Lirico D'Europa marked it's 7th season in Boston with a packed Friday evening performance of Puccini's LA BOHEME and the audience clearly enjoyed what it witnessed. A strong, attractive and talented ensemble backed up by a full orchestra and chorus, delivered Puccini's classic with passion, solid singing performances and even dramatic presentation. This reviewer was particularly struck by the singing and acting talent of Marina Viskvorkina as Musetta, a standout performer. It was difficult to look anywhere else when she was present. Giving a different and more sensitive performance was soprano Steffanie Pearce in the role of Mimi. Ms. Pearce delivered her role with elegance and reserve. We had a contrast between a healthy and sickly woman that came across in both the way each one moved and sang. Nicely done!  Vladimir Samsonov 's Marcello was the perfect match to Viskvorkina's spunky Musetta. Leonid Repin's Rodolfo was more retiring, withdrawn, the pensive writer - set off against Marcello's more explosive personality as the artist. These two strong leads were supported by the fine singing of Viacheslav Pochapsky (Colline) leading to the final death bed scene that was filled with emotion. The orchestra rose to the occasion and didn't disappoint.

March 2005         

The company scheduled an Easter Day treat for opera fans in Boston, serving up a lively and energetic LA BOHEME that delivered and easily satisfied a sold out audience. Back in their roles were the wonderful trio of Ilia Pavlov, Shaunard, Vladimir Samsonov, Marcello and Viacheslav Pochapsky, Colline. They were animated, involved with the characters, and all of strong voice from beginning to end. The newcomer, tenor Evgeni Akimov literally went thermonuclear with a performance that was nothing short of - well - thermonuclear. Mr. Akimov has a set of lungs that can explode and fill a hall and leave an audience gasping. Indeed, I saw some members of the audience grab hold of their partner when he hit the higher notes, as if to say  "Did you just hear what I heard?" Hats off to Mr. Akimov for bringing such a dynamic interpretation and such a heart felt rendering of Rodolfo to the stage. Singing the role of Mimi was Olga Chernisheva. Her Mimi was a little healthier than I am accustomed to seeing in the role. While she sang the part with energy she managed to appear vulnerable, an interesting juxtaposition that worked on many levels. By the final scene where her illness finally overcame her, along with Mr. Akimov, there was nary a dry eye in the house.  We expected Musetta, sung by American born lirico spinto soprano Victoria Litherland to be strong, robust and feisty and she was. She also seemed to be having a whale of a good time while she was singing. If she appeared fit for the part it's probably because she has sung this role at the New York Met, where she has worked for the past several seasons.  The cast sang well together and managed to maintain a level of high energy and involvement to the very end. The orchestra, led by Krassimir Topolov deserves high marks as well.  The orchestra was a good match for this powerhouse cast. It is this even matching of orchestra to cast that makes live performances so thrilling when they work.-- OPERA ONLINE.US, Paul Joseph Walkowski

Teatro Lirico D'Europa had a stunning, sold-out success Saturday evening February 5 with a production of Puccini's LA BOHEME that would have satisfied the most ardent opera fan. 

Here was a production in a classic style with solid acting and depth of sound, both of which stirred the musical soul of an audience so intensely satisfied. Artistic director Giorgio Lalov has the gift of "assemblage d'art". Veselina Vasileva's Mimi was outstanding from the start with clarity and pitch "to die for" coupled with a fragile image created from inner strength. Vladimir Samsonov's Marcello was totally convincing and his detachment/attachment with the Musetta of Luibov Metodieva, a conflicted siren in her own right with a voice to match, was a highlight of the evening. Leonid Repin seemed restrained as Rodolfo until the 3rd act when his characterization and voice finally rose to the emotional equation with Mimi and Marcello. 

And it was that last scene, wonderfully staged, the body language and positioning of the six characters was a poignant tableau, and powerfully sung, that brought the production to a pinnacle. The chorus sang very well. Super-titles, as ever, helpful, were especially well done and excellently timed. Musetta was outlandishly stunning in act 2. Kudos to Hristo Sarafov who comically played Benoit and Alcindoro as well as to Viacheslav Pochapsky who played a strong, philosophical Colline. Conductor Krassimir Topolov kept all forces in order. The orchestra sound was solid and supportive. November 2005 will witness the return of Teatro Lirico D'Europa to the Center for the Performing Arts with a production of the BARBER OF SEVILLE. We cannot wait.  -- THE STAR (Chicago Heights,) D. K. Luksetich, February 2005 

Scores of directors have tampered with Puccini's timeless opera with varying results. So it was fitting that Teatro Lirico D'Europa brought a meat-and potatoes version of LA BOHEME to a sold out McCallum Theatre Sunday, minus any gimmicks or artistic license. 

As Rodolfo, Evgeni Akimov gave a stalwart performance that rattled the rafters with his pure tone and fine enunciation. His top range was thrilling as he wooed Mimi with his "O soave fanculla." This is a tenor whose voice soars with spine-tingling fortitude. 

Olga Cherisheva's Mimi proved fully capable of the role's high tessitura demands. Marina Viskvorkina was radiant in the irresistible "Musetta's Waltz" gliding over the high tones with enviable dexterity and leading the chorus to a festive ending. The supporting cast was equally adept. Viacheslav Pochapsky's deep bass gave a dramatic heft to the philosopher Colline. Marcello was sung with robust fervor by Vladimir Samsonov. 

Teatro Lirico has certainly bolstered its leading roles with better singers since its first McCallum visit 6 years ago. The chorus has always delivered a satisfying sound and conductor Krassimir Topolov kept the temp zipping along. The glorius music in this production brought a standing ovation from the sated audience. -- THE DESERT SUN, Jeff Britton, February 2005