Earlier this year, critic Anthony Tommasini wrote in The New York Times: “Baz Luhrmann's hit production of La Bohème is indeed a lively, stylish, and inventive show with a young, sexy, and endearing cast. … Yet from a musical perspective, many veteran opera buffs will be dismayed, as I was, by the compromises the production has made, most grievously in its use of body microphones to amplify the singers and two digital sampling keyboards to fill in the instrumental textures that the meager ...
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