La Boheme is not just an opera masterpiece, a very close second to Tosca as far as Puccini operas go, but an all-time favourite too. The music is some of Puccini's best and most beautiful, the story is entertaining and poignant and the ending is one of the most heart-rending endings in all of opera, the ending to Poulenc's Dialogues des Carmelites is the only ending to an opera that affects me more. This production promised a fair bit, especially that it was a revival of the classic Zeffirelli production from 1982, and delivers, it is wonderful in almost every single way. The only things that didn't come across as quite to me were that the Act 3 quartet staging-wise could have been more intimate with just the four of them and without the additional stage business, and Oren Gradus personally was a little stiff as Colline, he sings without major complaint though apart from Vecchio Zimarra needing more resonance.
Visually, this La Boheme is very handsome to look at with an opulent Act 2, a hauntingly lit Act 3 and the Acts 1 and Act 4 garret setting as beautifully mounted as it is authentically cold(as it should). The costumes suit the characters' personalities and they look Bohemian at least with tasteful colours and the lighting is neither too bright or too dark. It doesn't just look striking but there is a real eye for detail, then again it is Zeffirelli so that shouldn't come too much of a surprise. The production may be 30+ years old but it doesn't show its age at all, the spirit of the opera remains but it feels fresh too with the most entertaining Act 2 I've seen in a while. The staging is rarely too busy, nor is it ever static(even in the chorus, there have been a fair amount of productions seen with badly directed choruses), the scenes between the Bohemians are a joy especially the end of Act 2 and there is plenty of emotional wallop when needed. The ending does not disappoint.
Musically, it's outstanding. The orchestra play fabulously, the tone in the strings especially is full of warmth and it's alive to nuances and lyrical style. The chorus are very animated, they are only present in Act 2 and the beginning of Act 3- with a lot to do though in the former- but they are committed in the drama. As ever they sound great, very well rehearsed and well-balanced. Stefano Ranzani's conducting is stylish and colourful, he brings out the poetry of the score while keeping the momentum tempo wise. On top of that he is sympathetic to the drama and the singers while not making it dull. It is a shame about Anita Hartig falling ill, from her rehearsal footage from the recent Met HD production of Werther and excerpts from Youtube she sounded absolutely great as Mimi and showed a beautiful tone, a singer I'd be happy to see again. Her last minute replacement Kristine Opolais did a remarkable job, her rich, rounded mezzo-like quality of her voice is really striking yet she shows no problems with the high register. Her Mimi is incredibly moving, you had no trouble recognising how much she meant every word and note she sang, delicate and surprisingly sensual in places. She did look tired but considering Mimi's condition you'd think if you didn't the behind-the-scenes story that it was part of the show).
As Rodolfo Vittorio Grigolo is a very good match, showing clear chemistry with Opolais and a bright ringing tenor voice. He is youthful, sympathetic and ardent dramatically, any reservations were with occasional lack of musicianship and occasions where he was ahead of the orchestra(notably the start of O Soave Fanciulla). Massimo Cavaletti's Marcello is impressive too, he is very amusing in his rapport with the rest of the Bohemians and his love-hate relationship with Susanna Phillips' Musetta, yet he shows a great loyal friendship to Rodolfo as well. His voice isn't a powerful one, but it is robust and warm and he doesn't resort to pushing. Susanna Phillips sounded completely natural as Musetta and she is very funny and sexy while her compassionate side later on is most touching. Patrick Carfizzi makes the most with Schaunard and Donald Maxwell is very characterful as both Benoit and Alcindoro(not the first time both roles are played by the same singer).
The production is very well shot with the videography matching the production's every nuance with a never too-stage-bound, reliant-on-close-ups or can't-locate-a-singer look, all three potential problems(apart from us seeing Mimi breathing at one point once she's dead) are solved here. The sound is appropriately resonant without anywhere on stage sounding like it's coming from a bathroom, and Joyce DiDonato hosts warmly and invitingly, being very friendly in her interviews. Overall, an incredibly compelling, beautifully sung and emotional production. 8.5/10 Bethany Cox
Visually, this La Boheme is very handsome to look at with an opulent Act 2, a hauntingly lit Act 3 and the Acts 1 and Act 4 garret setting as beautifully mounted as it is authentically cold(as it should). The costumes suit the characters' personalities and they look Bohemian at least with tasteful colours and the lighting is neither too bright or too dark. It doesn't just look striking but there is a real eye for detail, then again it is Zeffirelli so that shouldn't come too much of a surprise. The production may be 30+ years old but it doesn't show its age at all, the spirit of the opera remains but it feels fresh too with the most entertaining Act 2 I've seen in a while. The staging is rarely too busy, nor is it ever static(even in the chorus, there have been a fair amount of productions seen with badly directed choruses), the scenes between the Bohemians are a joy especially the end of Act 2 and there is plenty of emotional wallop when needed. The ending does not disappoint.
Musically, it's outstanding. The orchestra play fabulously, the tone in the strings especially is full of warmth and it's alive to nuances and lyrical style. The chorus are very animated, they are only present in Act 2 and the beginning of Act 3- with a lot to do though in the former- but they are committed in the drama. As ever they sound great, very well rehearsed and well-balanced. Stefano Ranzani's conducting is stylish and colourful, he brings out the poetry of the score while keeping the momentum tempo wise. On top of that he is sympathetic to the drama and the singers while not making it dull. It is a shame about Anita Hartig falling ill, from her rehearsal footage from the recent Met HD production of Werther and excerpts from Youtube she sounded absolutely great as Mimi and showed a beautiful tone, a singer I'd be happy to see again. Her last minute replacement Kristine Opolais did a remarkable job, her rich, rounded mezzo-like quality of her voice is really striking yet she shows no problems with the high register. Her Mimi is incredibly moving, you had no trouble recognising how much she meant every word and note she sang, delicate and surprisingly sensual in places. She did look tired but considering Mimi's condition you'd think if you didn't the behind-the-scenes story that it was part of the show).
As Rodolfo Vittorio Grigolo is a very good match, showing clear chemistry with Opolais and a bright ringing tenor voice. He is youthful, sympathetic and ardent dramatically, any reservations were with occasional lack of musicianship and occasions where he was ahead of the orchestra(notably the start of O Soave Fanciulla). Massimo Cavaletti's Marcello is impressive too, he is very amusing in his rapport with the rest of the Bohemians and his love-hate relationship with Susanna Phillips' Musetta, yet he shows a great loyal friendship to Rodolfo as well. His voice isn't a powerful one, but it is robust and warm and he doesn't resort to pushing. Susanna Phillips sounded completely natural as Musetta and she is very funny and sexy while her compassionate side later on is most touching. Patrick Carfizzi makes the most with Schaunard and Donald Maxwell is very characterful as both Benoit and Alcindoro(not the first time both roles are played by the same singer).
The production is very well shot with the videography matching the production's every nuance with a never too-stage-bound, reliant-on-close-ups or can't-locate-a-singer look, all three potential problems(apart from us seeing Mimi breathing at one point once she's dead) are solved here. The sound is appropriately resonant without anywhere on stage sounding like it's coming from a bathroom, and Joyce DiDonato hosts warmly and invitingly, being very friendly in her interviews. Overall, an incredibly compelling, beautifully sung and emotional production. 8.5/10 Bethany Cox
