MET Live, Puccini: La Bohème:  Soloists, Chorus & Orchestra of the Metropolitan Opera House, New York conducted by Nicola Luisotti. Barbican Cinema, 4.4.2008 (CC)


This was the 349^th (!) performance of Franco Zeffirelli's production of Bohème at the Met (more performances than any other production in the history of that opera house). More history: Angela Gheorghiu made her Met debut with the part of Mimì in 1993 (and it was also the role she debuted with in her native Romania); Gheorghiu and Alagna married in New York in 1996 during a run of Bohème.

Interviews between the acts included some caught on the hoof – a particularly amusing one was with the conductor, Nicola Luisotti, who talked much about passion and the Italian nation before looking completely bemused as to which way the pit was. Calls for him to take his place were repeatedly broadcast during the latter part of  his interview with Renée Fleming.

As to the evening itself, first, the sound. Presenting the opera on a cinema screen in this fashion meant that the sound of the orchestra, instead of coming from below (ie from the pit)  seemed to come from the same space as that occupied by the singers. One's ears did adjust, but it was initially off-putting.

Zeffirelli's production conforms to the Met's traditionalist stance. We see the room the men share as an opened-out cross-section against the roofs of Paris. Many scenes are lavish and lush. There is little to complain about here, on the surface, but there is  little to stimulate too.

The opening scene revealed Vargas as one of the weaker cast members, his strategy of stand-and-deliver singing and (non-)acting decidedly at odds with the stage antics of his companions. The contrast was particularly marked with baritone Ludovic Tézier, whose Marcello was a constant delight, although Quinn Kelsey (Schaunard) also shone. What's more, Vargas' tone became distinctly thinner in the higher registers of his voice. Paul Plishka was a marvellously bumbling Benoit (doubling as Alcindoro).

The second part of Act I holds the contrastive duet between Rodolfo and Mimì. Gheorghiu alas cannot at this stage in her career hope to look young and vulnerable, and the scene was marred by stagey acting from both. Musically, there was some recompense, though. 'Che gelida manina' was nicely phrased by Vargas, and 'O soave fanciulla' bore the first signs of passion from this singer. One also enjoyed the fact that the conductor gave the singers plenty of space. What a shame that the Met audience was so eager to show its appreciation (and therefore to interrput Puccini's flow)  in such a vociferous fashion. Like Vargas, Gheorghiu began hesitantly.

Act II brought Zeffirelli's crowd-pleasing staging to the fore (on-screen, we also saw the singers backstage and how the change of scenes was effected). The chorus used here was simply huge. Parpignol (Meredith Derr) was dressed astonishingly garishly, and (perhaps no surprise for Zeffirelli) a real horse drew Musetta's carriage.

As for Mimì, so with Musetta. Both singers looked far too old for their roles (Musetta was taken by Ainhoa Arteta). Superb scales were some musical recompense, and there was much charm to her famous Waltz.

The set for Act III succeeded in looking absolutely freezing. Once  more, Tézier excelled, and this time Vargas was able to match him, exhibiting huge vocal power, with plenty to spare. Some sudden, jerky camera movements aside, this was the most convincing act, but it was spoiled somewhat by an interpretative miscalculation by Luisotti. The massive contrast between the four men's dance and the entrance of Mimì should surely be huge, but here it seemed rather underplayed. Nevertheless, Gheorghiu does slow death well but even though the end was touching, it was difficult to escape the impression that Puccini had not been done full justice overall. The ENO performance I reviewed back in February 2007 included an infinitely more subtle and convincing Mimì in the form of Mary Plazas while sporting an ensemble cast that made the more playful lads' scenes fizz.

The Zeffirelli production is available on DVD  by the way, with Karajan at the helm (DG 073 4071). The Met season at the Barbican continues on April 26^th with a performance of Donizetti's La Fille du régiment.

Colin Clarke


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