BY BEN NIELSEN
Opera Australia
La Bohème by Puccini
Sydney Opera House, 6 January 2015
In 1930s Berlin, a group of artists congregate in an airy loft. It’s more grotto than garret, but there is an alluring romance to the hardship – it spawns creativity and mateship. This era of hedonistic cultural euphoria will soon come to an end, when Europe succumbs to rising social and political upheaval. For the time being though, the artists are oblivious to any problems but their own. They warm their fingers by the fire, and intoxicate themselves on art, literature and love.
This is Puccini’s La Bohème (based on Henri Murger’s novel), about a group of young bohemians living in Paris in the 1840s. While the work has become a common programming choice, there was once a possibility that Puccini’s La Bohème would never reach the stage. The composer and one of his librettists, Luigi Illica, were prone to arguments and had difficulty deciding on the opera’s narrative. After one such disagreement, Illica ridiculed the opera’s plot: “We have a meeting in an attic between a seamstress and a journalist. They love each other, they quarrel, she dies”.
Ironically, Illica’s derisive comment is the perfect summation of one of the most popular stories in the operatic canon. Illica might agree that even in its complete form (two-hours in duration), La Bohème still seems rather stunted. But then, Puccini himself never claimed the opera to be anything but a collection of “images”.
In Gale Edwards’ production, these images are furnished by Brian Thomson’s glorious set. This architectural wonder takes many forms: a high-ceilinged loft, a marketplace, a tavern, and the colourful Café Momus. The mechanics are so simple – giant rotating panels, and a revolving stage – and yet still maintain a quality of ingenuity. Julie Lynch also appeals to the style of the Weimar Republic, with her lavish costume designs. Musetta has the most delicious wardrobe (particularly during acts II and III).
As wonderfully distracting as the aesthetic is, the true star of La Bohème is the music. Its success lies with Puccini’s ability to articulate otherwise abstract feelings and thoughts – just like a film score. With only a few phrases, the music heightens the onstage action, making it tangible to the most passive onlooker. However, the drama of the score is sometimes detrimental – particularly during familiar tunes like ‘Quando men vo’ and ‘O soave fanciulla’. Such ‘diva’ moments are grasped by the cast, who then dangerously shift their character from tragic beauty to melodramatic caricature.
In spite of this, and their dishevelled appearance, the cast is exceptionally slick. Diego Torre and Maija Kovalevska lead the company as the besotted Rodolfo and Mimì. Their voices are a marvel – their register and dynamic capacities surely challenge natural human ability. Lorina Gore’s Musetta earns both Marcello’s (Andrew Jones) and the audience’s undivided attention in Act II as the titillating star of the Café Momus. The two are given another moment to shine in Act III, with a fight scene and a visually stunning rendezvous beneath the shroud of snow.
While his role is a mere cameo, Graeme Macfarlane is a charming Benoit. On the other hand, Shane Lowrencev tries to capture the physical humour of Schaunard, but appears instead to demonstrate unbearably clunky acting.
La Bohème is not just a vehicle for the lead cast – it also amply showcases the ensemble. The Act II Café Momus scene has the potential to be an overwhelming assault of movement and song, but instead, the Opera Australia Chorus proves itself to be far more engaging and cohesive than in any other recent production. The Children’s Chorus, however, is a distraction with obviously misguided direction. They are the most angelic-voiced, well-behaved paupers to grace the streets of Berlin.
With Andrea Molino at its head, the Australian Opera and Ballet Orchestra sound clear, precise and full. This is a pleasant surprise, given the Joan Sutherland Theatre’s questionable acoustics.
Even though Opera Australia has insisted on staging this production each year since its conception, Gale Edwards’ vision and well-tempered direction remains intensely gratifying. The audience might have heard the music and story a thousand times before, but this version of La Bohème will surely be dragged to the stage for many years to come.
Image supplied. Credit: Branco Gaica.
