Puccini (La) Bohème
A welcome appearance on DVD of this wholly convincing production
View record and artist detailsRecord and Artist Details
Composer or Director: Giacomo Puccini
Genre:
DVD
Label: Arthaus Musik
Magazine Review Date: 9/2003
Media Format: Digital Versatile Disc
Media Runtime: 113
Mastering:
Stereo
Catalogue Number: 100 954
Tracks:
Composition | Artist Credit |
---|---|
(La) Bohème, 'Bohemian Life' |
Giacomo Puccini, Composer
Australian Opera and Ballet Orchestra Australian Opera Chorus Cheryl Barker, Mimi, Soprano Christine Douglas, Musetta, Soprano David Hobson, Rodolfo, Tenor David Lemke, Schaunard, Baritone Gary Rowley, Colline, Bass Giacomo Puccini, Composer Graeme Ewer, Benoit, Bass John Bolton-Wood, Alcindoro, Bass Julian Smith, Conductor Roger Lemke, Marcello, Baritone |
Author: Alan Blyth
Baz Luhrmann’s ground-breaking and highly regarded production was new at Sydney in 1990. It was committed to video in 1993. More recently it was transferred to Broadway, where it hasn’t proved an overwhelming success, mainly because of some indifferent casting. Watching at it again on DVD, I enjoyed it quite as much as before in spite of some reservation about the sets, which range a little uncomfortably across various decades – the scaffolding used for Act 3 now seems distinctly yesterday’s idea.
Within the eccentric decor, Luhrmann gives new life to old routines, the personal dramas projected sincerely by a youthful group of principals, obviously in love with life and each other. The most convincing is Hobson’s Rodolfo, a tousle-haired, gangling youth with film-star looks, a gift for natural, impetuous, uninhibited acting and a bright, keen-edged tenor capable of fulfilling Puccini’s demands.
Barker is an appealing Mimì in the modern vein, more knowing than vulnerable, at least until her death scene. As with many modern interpreters of the part, her attractive voice can go out of focus at the top, but her phrasing is always exemplary in style, her ‘Addio’ especially eloquent. Christine Douglas is all-too-obviously a blowsy, brazen Musetta with voice to match. Her Marcello is the burly, down-to-earth Roger Lemke, who has a nicely bronzed baritone. The Schaunard and Colline are both well in the picture.
Smith supports his singers admirably but sometimes lays a slightly heavy hand on the score. Both sound and video direction are excellent.
Within the eccentric decor, Luhrmann gives new life to old routines, the personal dramas projected sincerely by a youthful group of principals, obviously in love with life and each other. The most convincing is Hobson’s Rodolfo, a tousle-haired, gangling youth with film-star looks, a gift for natural, impetuous, uninhibited acting and a bright, keen-edged tenor capable of fulfilling Puccini’s demands.
Barker is an appealing Mimì in the modern vein, more knowing than vulnerable, at least until her death scene. As with many modern interpreters of the part, her attractive voice can go out of focus at the top, but her phrasing is always exemplary in style, her ‘Addio’ especially eloquent. Christine Douglas is all-too-obviously a blowsy, brazen Musetta with voice to match. Her Marcello is the burly, down-to-earth Roger Lemke, who has a nicely bronzed baritone. The Schaunard and Colline are both well in the picture.
Smith supports his singers admirably but sometimes lays a slightly heavy hand on the score. Both sound and video direction are excellent.
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