La boheme
La bohème, Opera Australia at Sydney Opera House, 3-16 January 2015. Photography by Branco Gaica featuring the gang with Taryn Fiebig (above) and right, Maija Kovalevska and Diego Torre.
Once again (see Magic Flute) the archived review of Gale Edwards’ splendid Weimar-styled production holds true and what was written then remains relevant now. There are cast changes and although I haven’t seen it yet (see news stories, if you must!) I’m fairly reliably informed that the new Rodolfo (Diego Torre), Mimi (Maija Kovalevska) and Musetta (Lorina Gore) sang beautifully. Andrew Jones, David Parkin, Shane Lowrencev reprise their roles and Andrea Molino conducts.
Nevertheless, La bohème is a work that repays an imaginative approach and is interesting for what it says about its times and ours. For instance, in 2011 I wrote…
“It's 1930s Berlin and the bohemians are living the high life of art for art's sake and other dubious pleasures. It's not exactly arrested development, but Rodolfo, Marcello and their pals carouse with all the carefree confidence of young men who know they will one day come into inheritances; or that Daddy will stump up the cash if they exceed their allowances. Failing that, the would-be artists and poets know the minute they say, "oops - you were right, I'll join the family business after all," they'l be airlifted back to creature comforts and that'll be the end of freezing, walk-up studios and picturesque poverty. But it's not the same for their girlfriends.
“For starters, none are upper class nor even of the middle - those young women couldn't dream of such dangerous freedom, even in the early decades of the 20th century - and none are merely playing at being poor. Mimi is a seamstress; Musetta is, of necessity, a gold-digger - nobody is about to rescue them from society's lower reaches, least of all their young gentlemen. It's just not going to happen (which is where consumption (TB) comes in so handy: a tragic end for Mimi absolves all of responsibility and Rodolfo of having to make cruel decisions). And that, more or less, is the plot of the Puccini favourite and masterpiece, La bohème.”
And then there’s the look - which caused the inevitable wrinkled noses, but I enjoyed and wrote:
“The Edwards bohème is a masterpiece in itself, however. The creative team is second to none, with Brian Thomson devising a three-in-one setting of studio-Momus/Spiegeltent-city tollgate that not only looks terrific but also works with applause-worthy simplicity. John Rayment's lighting design does tawdry nitery with wit and empathy and also provides the different spaces for the performers within the otherwise simple settings. Julie Lynch excels herself with the costumes, obviously having taken full advantage of OA's costume makers. The lavish range of outfits, from Musetta's already famous Swarovski evening gown and the gaudy finery of the nite club gals, to the everyday stylish tat of the bohemians - dinky pullovers and overlarge winter coats (Rodolfo and Marcello), dandyish Isherwood gear for Schaunard and so on. The production is a feast for the eyes.”
And finally, as uber-director Gale Edwards is “in the building” and - one hopes, a few bucks were stumped up to ensure she was on hand to smooth the way into the show for the new cast members and keep a characteristic sharp eye on the detail that is her trademark, this final paragraph is one I’ll stand by too, for the time being…
“All told, this new production of La bohème is a triumph for OA and a particular one for Gale Edwards. Her eye for and instinctive insistence on the fine details of a performance go much further and deeper than the principals. The result is a dramatic and emotional journey that is at times overwhelming. I ended the evening sobbing but had a truly wonderful time. Go figure.”
If you felt differently - please let me know!
