Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

In Parenthesis, Welsh National Opera in London

‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.

Die Walküre, Opera North

A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.

Early Gluck arias at the Wigmore Hall

If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.

Das Rheingold, Opera North

Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

OPERA TODAY ARCHIVES »

Performances

Act II of La bohème [Photo courtesy of Arizona Opera]
30 Jan 2014

Puccini’s La bohème at Arizona Opera

On January 25, 2014, Arizona Opera presented Candace Evans production of Puccini’s La bohème with exciting young artists Zach Borichevsky and Corinne Winters as a romantic Rodolfo and his charming but not-so-innocent Mimì.

Puccini’s La bohème at Arizona Opera

A review by Maria Nockin

Above: A scene from Act II of La bohème [Photo courtesy of Arizona Opera]

 

Giacomo Puccini and Ruggiero Leoncavallo both wrote operas based on Henri Murger’s Scènes de la Vie de Bohème, but their operas are very different. Not only does each tell different parts of Murger’s wide ranging Scènes, Puccini and his librettists, Luigi Illica and Giuseppe Giacosa, changed much of the story. For one thing, they made Mimì more faithful to Rodolfo, and thus much more acceptable to a bourgeois audience. The distribution of voices is also quite different. In the Puccini Mimì and Musetta are sopranos; Rodolfo is a tenor and Marcello a baritone. In the Leoncavallo, Mimì is a soprano, Musetta a mezzo, Rodolfo a baritone, and Marcello a tenor.

The Puccini opera starts with the men in their garret, but Leoncavallo puts the whole group in the Café Momus where they attempt to “dine and dash” because they have no money. His Act II opens on the repossession of Musetta’s property because her ex-lover is refusing to pay her debts. By Act III, Musetta, who had again taken up with Marcello, is leaving him because she is tired of poverty. She knows that Mimì is living with a nobleman and she hopes to do that too. Mimì returns to Rodolfo in the final act, but she is very ill. She dies as the bells chime for Christmas day. Although it might be fun to see the Leoncavallo opera someday, it is easy to see why Puccini’s story, even without his exquisite music, makes it the more popular work.

On January 25, 2014, Arizona Opera presented Candace Evans's production of Puccini’s La bohème with exciting young artists Zach Borichevsky and Corinne Winters as a romantic Rodolfo and his charming but not-so-innocent Mimì. Evans gave us a realistic interpretation of the libretto staged on sets by Peter Dean Beck. The first and fourth acts took place in a frigid attic room that radiated its cold out into the audience. A dual level set provided adequate space for the joyous outdoor Christmas Eve scene that formed the opera’s second act. It was a perfect background for Andrea Shokery’s grand entrance as the flirtatious Musetta. She sang her coquettish waltz song with dulcet tones, all the time trying to rekindle the interest her old lover, Marcello. When her shoe began to pinch her foot, she asked her escort, Alcindoro, to help her remove it. As he pulled off the shoe she pulled up her several skirts, to his embarrassment and the amusement of the audience.

As Marcello, baritone Daniel Teadt still loved her despite her acerbic personality, and he was happy to take her into his arms. Puccini never gave the lovesick Marcello an aria but Teadt had some beautifully lyric moments in Act III. Chris Carr was a gregarious Schaunard and Thomas Hammons made the most of his two character roles, Benoit, the ineffectual landlord, and Alcindoro, the old dandy who gave up a great deal of dignity to have a beautiful young woman on his arm. Young artist program member Calvin Griffin acquitted himself well as the intellectual Colline. Together, these artists evoked great depth of emotion with their ability to color their tones and act with their voices. Although the story of this opera is sad, Henri Venanzi’s choristers made the second act a pleasant interlude in Mimì’s inevitable decline. At the end, Rodolfo was the last to realize she has died, but when he finally did it was heartbreaking. Joel Revzen led the Arizona Opera Orchestra in a lucid reading of the score that brought out to poignancy of the story. This was a fine performance of the Puccini masterwork and the exquisite playing of the orchestra was a large part of it.

Maria Nockin


Cast and production information:

Rodolfo, Zach Borichevsky; Mimì. Corinne Winters; Musetta, Andrea Shokery; Marcello, Daniel Teadt; Collie, Calvin Griffin; Schaunard, Chris Carr; Benoit/Alcindoro, Thomas Hammons; Parpignol, Dennis Tamblyn; Conductor, Joel Revzen; Director Candace Evans; Chorus Master, Henri Venanzi; Scenic Designer, Peter Dean Beck; Costumes, A. T, Jones and Sons; Lighting, Douglas Provost.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):