Commemorating the centenary of Puccini’s death in grand style, Melbourne Opera begins its Puccini Anniversary Season with a handsome new production of immortal classic La Bohème.
Presented previously by Melbourne Opera in 2008 and in their 2012 tenth anniversary season, the return of La Bohème makes a change from the company’s recent general focus on German opera and the bel canto repertoire. Not that there is a lack of “beautiful singing” to be heard in this beloved work, which lies firmly in the realm of romantic opera. This all new staging is presented at a very high standard of production and musical quality and is an absolute boon for a city currently starved of quality opera.
Maestro Raymond Lawrence helms a meticulously prepared performance, with the Melbourne Opera Orchestra working with precision and detailed expression to deliver Puccini’s melodious score to sterling effect. The Melbourne Opera Chorus sings out with full force in act two, wth featured singers continuing into act three. The production has the luxury of a Children’s Chorus of ten talented young singers who also act up a storm as the children covet the goods of toy seller Parpignol.
Director Gary Abrahams transplants the action of La Bohème from Paris to Melbourne, and yet the overall staging remains highly traditional. In the absence of a Director’s Note in the program, the time period is not entirely clear but Melbourne is certainly an ideal setting for the opera.
Abrahams infuses the work with its full, affecting romantic sweep, also developing crackling chemistry between the four male bohemian artists. The quality and authenticity of the performances combined with the relative intimacy of the Athenaeum Theatre successfully bonds the performers with the audience, bringing the tragedy to a moving climax.
Set designers Jacob Battista and Sophie Woodhead provide a two-level set that creates a mezzanine in the bohemian artists’ loft apartment that doubles as a second level for the busy city arcade housing the Cafe Momus in act two. Wrought iron is used decoratively on the balcony and proscenium arch and set painting is expertly completed. A well judged creative touch in act two sees the bohemian friends create their own table at the busy cafe using crates, a door, and a rug.
The artists’ loft looks out a full-height rear glass window onto a cityscape including Flinders Street Station and the Skipping Girl Vinegar sign. Act three takes place in a traditional Melbourne CBD lane, where the throughline of design sees Marcello’s Parting of the Red Sea as a mural painted on the brick wall.
To acknowledge the change to Melbourne, the wintery scenes do not feature any Christmas decorations, although costume designer Harriet Oxley does use red and green throughout the ensemble costumes. Patterned suits on the bohemians create a sense of characterful texture, with Schaunard a standout looking as though he has come from the stage of a production of Kismet (as befits the entertainment he has been paid to perform). Leading ladies Mimì and Musetta are gorgeously attired, with Musetta’s act two magenta gown with pale pink faux fur a highlight.
Elena Xanthoudakis brings a finely calibrated fragility to dear Mimì, all too convincingly appearing ever close to death. Xanthoudakis’ performance of act one aria “Sì, mi chiamano Mimì” is a tender highlight and “Donde lieta uscì,” in act three, is even more exquisite. Xanthoudakis’ final scene in act four is all the more moving for her delicate performance.
Boyd Owen makes for a stirring Rodolfo, his clarion tenor ringing out in thrilling form. Classic aria “Che gelida manina” soars out, earning rousing audience acclaim. Owen enjoys sweet chemistry with Xanthoudakis and the pair’s duets are perfectly matched; indeed, one could happily listen to the pair sing all day.
Popular soprano Helena Dix returns to delight the Melbourne Opera audience again. Dix’s Musetta is a grand creation, commanding attention from all eyes on stage and in the house. Dix’s lustrous soprano is heard in all its beauty in the eminently hummable aria “Quando me’n vo’,” although the humorous interactions with the crowd somewhat distract from the loveliness of Dix’s singing. In act four, Dix conveys Musetta’s compassion with moving clarity.
Giving a wonderfully muscular performance as painter Marcello, Christopher Tonkin exudes abundant energy and passion. Tonkin enjoys fiery chemistry with Dix and also shines opposite Xanthoudakis in act three as Marcello is moved to show care and concern for poor Mimì.
Darcy Carroll convinces effortlessly as philosopher Colline, giving a gently compelling rendition of “Vecchia zimarra” as Colline selflessly leaves to sell his coat for medicine for Mimì. Stephen Smith matches his Arabian Knight costume and makeup with a distinctly exuberant performance.
Basically owning the roles of landlord Benoit and wealthy patron Alcindoro in Australia, veteran John Bolton-Wood is in reliably characterful form and is a very welcome guest for this special anniversary season.
Known as one of the most ideal operas for newcomers, La Bohème is a warm and welcoming treat that is sure to delight audiences of all levels of operatic experience.
La Bohème plays at Athenaeum Theatre, Melbourne until 24 September 2024. For tickets, click here.
The Melbourne Opera Puccini Gala featuring Suor Angelica plays at Athenaeum Theatre, Melbourne 22, 25 September 2024. For tickets, click here.
Photos: Robin Halls