The world of opera is a captivating tapestry, and the revival of a beloved production can stir emotions and spark debates. 'La Bohème' returns to the stage, but this time, it's a journey through time and innovation. Here's a captivating review of a classic opera's resurgence.
In 2012, the Los Angeles Opera brought back a 19-year-old production of 'La Bohème,' renowned for its artistic sets, cinematic flair, and the romantic storytelling of Hollywood director Herbert Ross. This production, initially reviewed as a cherished classic, seemed to defy time. Fast forward to 2015, and it was back, gracing the Dorothy Chandler Pavilion once more.
But the opera world is never short of surprises. Gustavo Dudamel's futuristic interpretation took 'La Bohème' to outer space in Paris, while the disruptive Yuval Sharon, founder of The Industry, flipped the script. He envisioned a bold, backward journey, starting with Mimi's death and ending with her and Rodolfo's love duet, captivating audiences in South Carolina and Detroit. And just like that, a new era of 'La Bohème' was born.
L.A. Opera, not to be outdone, imported Barrie Kosky's provocative and brilliantly staged version from Berlin's Komische Oper in 2019. Puccini's Parisian bohemians mirrored our modern complexities, blending humor, menace, and profound seriousness. Yet, the company now reverts to the older 'Bohème' for its 40th season, revisiting its most successful and longest-running production.
The Ross production, recently revived, still captivates audiences. With a well-cast ensemble and a spark of stage magic, it's a holiday treat. The familiarity of Ross's work, akin to a beloved movie on repeat, brings joy to many. His background in dance and choreography shines through, as he infuses singers with a graceful mindfulness for movement.
Over the years, the production has evolved with new casts, conductors, and directors. L.A. Opera has kept it fresh and affordable by featuring rising stars and diverse conductors. The current revival continues this trend, with four principal singers making their company debut and two veterans of the Ross production. The resident conductor, Lina González-Granados, and stage director, Brenna Corner, bring new energy to the familiar story.
Paris, on the cusp of modernity, sets the scene. The Eiffel Tower, not yet complete, looms in the background. The young bohemians—Rodolfo, Marcello, Schaunard, and Colline—struggle with creativity and poverty in their cold-water garret. Their love interests, Mimi and Musetta, ground them in reality. Oreste Cosimo and Janai Brugger, as Rodolfo and Mimi, create a vocal contrast, with Cosimo's light yet charismatic voice and Brugger's lush, powerful vocals. The ensemble, including newcomers Gihoon Kim, William Guanbo Su, and Emmett O'Hanlon, forms a multicultural group of Parisian émigrés, each with their own charm.
Veteran Rod Gilfry, once a Rodolfo himself, shines in comedic roles, while Erica Petrocelli, formerly Musetta, adapts to a tamer production vocally. González-Granados' spirited conducting and the orchestra's precision add to the overall brilliance. While the production may not evoke the same grandeur as before, it still captivates with its Christmas Eve celebration and the emotional journey of Rodolfo and Marcello, as they confront their relationships and Mimi's tragic fate.
The longevity of opera productions is a fascinating topic. While some, like Franco Zeffirelli's 1981 'Bohème,' endure through the seasons, others evolve and reinvent. Yuval Sharon's upcoming 'Tristan und Isolde' at the Met promises a fresh take on tradition. So, as 'La Bohème' continues to enchant audiences, the question lingers: How do we balance honoring the classics and embracing innovation? Share your thoughts on this timeless debate in the comments below!
