What a fabulous way to start off 2014 with this magnificent revival of Gale Edwards’s version of LA BOHEME, originally seen in 2011.
Lush, lyrical and romantic, passionately performed by cast and orchestra it feels as fresh as if it was a world premiere .Musically the Australian Opera and Ballet Orchestra, under the enthusiastic ,very energetic leadership of Andrea Licata, was superb, giving a dazzling rendition of Puccini’s much loved score .
One of opera’s best known works, we follow the story of the young bohemians living and loving through harsh ,trying times and the tragic love story between Rodolfo and Mimi. It has inspired audiences and artists alike since its premiere, with countless works based on the opera including the Broadway musical RENT.
Brian Thomson’s rich scarlet and gold opulent designs make us think decadence. Julie Lynch supplements this with revealing, suggestive costumes that scream profligacy too. John Rayment’s precise yet atmospheric lighting completes a beautiful, cinematic picture (even the emphatic drape of the scarlet front curtain concealing what’s to come, with the opera’s title spelt out with subdued incandescent bulbs is quite ‘Baz Luhrmann’ in style , referencing the earlier much loved production).
Thomson’s sets take us from the freezing garret to a chilling tollgate via a high-glam Spiegeltent like idea that acts as a counterpoint to the extremes of wretched poverty and opulently vulgar wealth seen elsewhere in the production.
Very effective use is made of the revolve at times. The glittering. multi-levelled posh theatre, draped with courtesans in varying degrees of undress in the boxes, gives an uneasy energy and exuberance to the Café Momus scenes.
This production very effectively counterpoints young love and naive optimism with newfound sexual freedoms and a menacing under-current of what is to come .The political and economic upheavals underscoring the original story here act as a background for the pre-war years of 1930s Berlin , where deprivation and decadence co-existed in equal measures.
The work takes on a guise of eerie sociopolitical menace, adding to the star-crossed tragic tryst between Mimi and Rodolfo. Their doomed relationship in some ways becomes symbolic of the death of culture and freedom enforced during the Third Reich.
Nicole Car as Mimi is sensational – sweet , pure and fragile , dreaming of beauty with a huge , opulent voice and at times tremulous emotion .Her rendering of her introductory aria ‘ Si, mi chiamano Mimi ‘ was beautifully nuanced, allowing her performance to further build in the final acts .
Park is a compeling , believable Rodolfo, in fabulous voice, his wonderfully warm, thrilling tenor supported by a dramatic performance throughout his character’s agonising emotional rollercoaster ride. He is both tremendously powerful and yet vulnerable as the unlucky romantic poet hero.
With regards to the other pair of lovers Musetta and Marcello : Sharon Prero as the slinky , scheming Musetta is tremendous, showcasing one of Julie Lynch’s few opportunities for over-the-top glamour in her costumes, and providing a bewitching vocal performance replete with smoky spotlight and vintage microphone in the style of Marlene Dietrich and other glamorous 1920’s stars.
Another highlight was Giorgio Caoduro’s performance as the charismatic painter Marcello, with hidden ripples of violence , controlled machismo and the rich tones of his terrific baritone blending together in a terrific performance .Marcello has an on-off relationship with the beautiful Musetta who is tempted away by far wealthier suitors. Conflict hides the two pairs of lovers mutual devotion – the increasingly ill Mimi must leave penniless Rodolfo, will they survive…Will Musetta and Marcello reunite? Prero as Musetta, has a number of very big vocal moments and tends to grab attention whenever she’s on stage – especially for example in Act 2, with her waltz Quando me’n vo’ – “When I go along”) as she’s torn between love and wealth, revealing intensity and beautiful timbre.
Graeme Macfarlane gives a tremendous performance as the somewhat buffoonish –landlord Benoit in a garishly overloud green checked costume .Tall, gangly Shane Lowrencev gives a vibrant , detailed, generous, admirable performance as concerned Schaunard, a musician and confidant of Rodolfo and Marcello, who together form a sort of starving, artistic group with their friend Colline, a philosopher (Richard Anderson ) .Colline’s aria to his coat (‘Vecchia zimarra – “Old coat” ‘) is most affecting .
Much fun was also had by the very engaging children’s chorus too .
This was a very moving, passionate tremendous revival. Running time 2 & ½ hours (approx) including one interval.
Opera Australia’s ‘ La Boheme’ by Puccini runs at the Joan Sutherland Theatre, Sydney Opera House in repertoire on various dates between the 4th and the-21st January 2014