MARCH 24 • 2022 | 51

15 years because of the musical 
circularity and episodic quality 
of the four acts, making it a less 
traditional narrative than other 
operas.
Previous less traditional 
approaches to La bohème have 
been stylistic adaptations of 
what the opera encompass-
es, such as jazz pianist Dick 
Hyman’s version of the single 
piece “Musetta’s Waltz” and 
Jonathan Larson’s Broadway 
musical Rent as based on the 
entire opera. 
Sharon said he has been told 
that even people experiencing 
the opera for the first time will 
comment that they are familiar 
with some of the music.
“There’s good reason why 
it’s the world’s most popular 
opera,
” Sharon said. “Puccini 
captured the absolute essence 
of youth, what it means to be 
young and vibrant and full of 
hope and love. It’s hope despite 
the truth of what it means to 
be human, and doing it in 
reverse order, we’re actually 
starting with the hardest part 
of it, the death of Mimi. 
“
As we’re emerging from this 
period of death from COVID, 
this is the moment to be doing 
this kind of treatment. There’s 
still not an end to the tragedy 
because COVID is not fully 
over, but we’re starting to move 
into hope. It’s part of what art 
is there to do, and that’s part of 
why we turn to art even in the 
darkest of times.
”
To keep the narrative cohe-
sive in this new staging, Sharon 
adds a new role, The Wanderer, 
portrayed by George Shirley 
to give a spoken foundation 
for each act with text from the 
original opera source material.
Others appearing in the 
opera include Aundi Marie 
Moore (Mimi), Matthew 

White (Rodolfo), Edward 
Parks (Marcello) and Brandie 
Inez Sutton (Musetta). 
Vimbayi Kaziboni, guest mae-
stro for prestigious orchestras 
internationally and assistant 
professor of orchestral studies 
and contemporary music for 
the Boston Conservatory at 
Berklee, is conducting. 
Chorus member Fred 
Buchalter marks his 100th 
production with the company 
and his sixth production of La 
bohème. 
“Each of the La bohème pro-
ductions has been unique but 
not nearly as much as this one,
” 
said Buchalter, retired from 
a long on-air and production 
career in radio but continuing 
with acting and singing roles, 
including appearances with the 
Jewish Ensemble Theatre (JET) 
and the Congregation Shaarey 
Zedek chorus.
“It’s nice to be doing a 
wonderful piece like this but 
looking at it from a different 
perspective of [going back in 
time}. I think of my Jewish 
heritage because our holidays 
and traditions are based in 
history.
”
Some 40 years of opera 
experiences enter into the 
memoir Buchalter wrote and 
published during pandemic 
confinement: My Unexpected 
Life: The Extraordinary Journey 
of an Ordinary Man. 

A NEW NAME
The company launched 
some 50 years ago as Detroit 
Overture to Opera, a branch 
of the Detroit Grand Opera 
Association presenting 
excerpted operas for educa-
tional outreach. Under the 
leadership of the late David 
DiChiera, the organization 
matured into a bona fide 

company in 1971 and became 
an independent organization 
as Michigan Opera Theatre 
in 1973. 
“I was interested in chang-
ing the name to Detroit 
Opera [soon after joining 
the company],” said Sharon, 
enthusiastic about current 
building renovations making 
the hall more fully accessible. 
“It felt really important as I 
needed to get more on the 
ground in Detroit, have more 
experience with productions 
here and get to know the 
people.
“My time in Detroit has 
been really meaningful, and 
it continues to remind me 
that this is a company of its 
community. That’s why it was 
so important that its name 
reflected that. It was for us 
to signal to our community 
how much we belong to the 
cultural fabric of this city, and 
when we say Detroit, we’re 
talking Metro Detroit. 
“That’s in line with how 
opera is seen nationally 
and around the world — as 
connected with a city. It’s 
also important to say, on 
the national stage, that we 
are going to be connected to 
Detroit as a civic center.”
Sharon, who has connected 
personally with the Metro 
Detroit Jewish communi-
ty as he attends services at 
the Isaac Agree Downtown 
Synagogue, is working 
with Spoleto Festival USA 
and Boston Lyric Opera as 
co-producers of La bohème,
“The co-producers are 
helping to make this produc-
tion as fully realized as possi-
ble,” Sharon said. “The work 
happening in Detroit is going 
to be exported to the larger 
world.” 

Details 
La bohème will be presented at 6:30 p.m. Saturday, April 2; 7:30 p.m. Wednesday, April 6; 
and 2:30 p.m. Sunday, April 10, at the Detroit Opera House. Tickets start at $29. Proof of 
full vaccination or a recent test, with masking, required. (313) 237-7464. Detroitopera.org.

World Social Work Day was 
March 15, and JARC celebrated 
the hard work and dedication of 
the social workers who assist the 
people JARC serves. This year’s 
theme was “Co-building a New 
Eco-Social World: Leaving No 
One Behind.” The social work 
staff at JARC is no exception as 
they help develop trust, secu-
rity and confidence in all peo-
ple JARC serves. JARC salutes 
the values and principles of social 
workers who provide respect and 
enhance lives.

JARC Honors 
Social Workers

JARC Social worker Joanne 
Drasnin assists Lauren, a person 
served by JARC with an art 
project.

Congregation Shaarey Zedek staff, 
including Rabbi Aaron Starr, paid 
a visit to the Southfield Police 
Department on March 7. They were 
joined by board Susan Kosik Klein, 
Sara Rothenberg and Harold Kusnetz. 
The CSZ folks brought lunch to 50 
staff and members of the police force 
as a token of their appreciation for 
their constant presence, protection 
and support at Congregation Shaarey 
Zedek’s many services and programs.

Shaarey Zedek Feeds 
Southfield Police

