I first saw La Bohème in the form of a musical called Rent, back in 1997. I had taken OAC music the year before, where we studied the Giacomo Puccini opera, which was the musical’s source. One of the differences between the musical and the opera, was, of course, the setting (1980s New York versus 1830s Paris). The next time the storyline came up again was 2003. I was in New York at the time, and had heard about the Baz Lurhmann production on Broadway. Yes, an opera, sung in Italian, on the Great White Way. It was a very interesting production – rather than mid-19th century Paris, the setting was in the early 1950s and in the grand tradition of Baz Lurhmann, very over the top (or as over the top one can get on stage). Ten years later, I saw the Canadian Opera Company (COC) production at the Four Seasons Centre for Performing Arts.
The COC production (co-production, really, with the Houston Grand Opera and San Francisco Opera) was, of course, much more traditional. Directed by John Caird (Les Misèrables) and sticking to the original setting of nineteenth century Paris, the opera, in Italian, also provides Surtitles for those who do not understand the language. There were two sets, used between four acts, on a rotating stage (see the Les Mis connection here?). On one side, there’s the Rodolfo and Marcello’s apartment (or “garret” as described in the program), with walls built on unframed canvases (Rodolfo, after all, is a painter), and the reverse side cleverly represents the exteriors of the Parisian streets. The lighting is cleverly dim and costumes, for the most part, neutral and faded, representing the darkness of these poverty-stricken artists and other outcasts. However, I have to say that from where I was sitting, it was difficult to both read the Surtitles and concentrate on the singers on stage at the same time – the translation was too high above for many of us sitting in the orchestra area. That’s not really something that can be too easily changed, I guess.
Casting was also very interesting. Roles are shared and rotated, so a performer might be singing Musetta one night and Mimi the next. Except for two roles (customs house sergeant and Benoît), each role is shared by two or three singers. The afternoon I attended, Mimi was Grazia Doronzio and Rodolfo, by Dmitri Pittas, who had excellent chemistry. However, it is very difficult to comment on the cast as one might get a very different experience with other performers.
La Bohème runs at the Four Seasons Centre for Performing Arts until October 30. Please check the COC website for dates, times and ticket information.
