BY CARISSA DYALL
La Bohème
Opera Australia
State Theatre, Arts Centre Melbourne, 7 November
It was Berlin. In the 1930s. There was glitz. There was glamour. Opera Australia’s La Bohème was a spectacular production filled with glamorous costumes and extravagant sets, soaring melodies, and an infamous romance.
The bare and cold of the studio in Act 1 gave the show’s standout Yosep Kang a platform to present his charismatic and soulful Rodolfo. With plenty of opportunities to showcase his vocal abilities, Kang hit the high notes with flair and ease. There was depth, richness, and power to his voice. This was unfortunate for Maija Kovalevska’s Mimi as her voice felt underpowered by comparison, though she portrayed her character with grace and poise.
The second act saw the flamboyant introduction of Jane Ede as Musetta, after a busy town square transformed in the decadent Café Momus. The chemistry between the dysfunctional couple of Musetta and the more comical character of her lover Alcindoro was a standout, providing amusement and terrific acting – but beyond this, at times a glimpse into the complex realities of an abusive relationship: the use of slapstick humour and comical characters provided breaks from the heaviness of troubled romance.
As the two wildly contrasting love stories of Mimi/Rodolfo and Musetta/Marcello played out, the audience was treated to a visual spectacle. No expense was spared on the detail of the café scene with chorus members and actors playing out almost subplots. A bartender dressed up as Santa, café patrons, and a foreboding, shadowy figure who looked down at all the merriment formed a part of this scene. In truth, this partially took away from the focus of the romantic plot as there was almost too much to take in.
The stark contrast of the second half reflected on the state of both romantic relationships and also saw some fine ensemble singing. Act 3 ended with the powerful and passionate combination of Kang, Kovalevska, and Ede as the impending doom loomed. The final act brought the audience in a full circle, back to the studio where it all began, with a massive mural Marcello had worked on finally completed. The joviality of the four Bohemians was cut short dramatically by the arrival of Musetta, with news of a sick and dying Mimi. This setting provided the best emotional connection between Kang and Kovalevska’s characters, and the pain felt by the estranged lovers was heart-felt. All was seemingly forgiven between both couples.
Opera Australia produced a stunning production for one of opera’s most beloved but doomed romances.
Images supplied. Credit: Jeff Busby.
