Tony Britten
Bohème

Although it is well known that I have somewhat difficult tastes when it comes to opera music, I must say that the production I am reviewing absolutely thrilled me. It is an edition of Giacomo Puccini's "La Bohème." It must be said that this immense bel canto masterpiece lends itself to numerous interpretations as it is a very versatile work. That being said, the edition I am reviewing is of absolute prestige: it is, in fact, an opera-film, just like the one Franco Zeffirelli made with a very young Mirella Freni in the role of Mimì. What makes this film absolutely fascinating are the choices that were made: in this production, the opera does not have the massive orchestration that Puccini gave it (making "La Bohème" his supreme masterpiece), but instead, it is stripped down to the essentials: piano (or keyboard), saxophone, harp, and a few strings. Additionally, the choice of voices is interesting (and spot-on): here, the characters (Mimì, Rodolfo, Marcello, Colline, Schaunard, Musetta, and Alcindoro) are singers whose usual field is that of musicals. It must also be noted that, unlike the classic theatrical productions and/or studio recordings of "La Bohème," in the production directed by Tony Britten, the two strong notes which begin and end Act III have been cut, and before the start of Act III, there is an absolutely delightful instrumental interlude (absent from Puccini's original score).

Equally interesting is the fact that the set design in Act II contains an explicit reference to the other "Bohème" (the one by Ruggero Leoncavallo), whose Act I is set on the first floor of the Café Momus where, coincidentally, there is indeed a billiard room. I don't have much else to say, except that from many points of view, this production has a lot to offer and give to the opera theater: in fact, I hope that what I have seen on this DVD can also be replicated in various Italian theaters. From the point of view of the singers, I don't have much to say either, also because they all proved to be up to their roles; however, my favorite is Graham Mackay-Bruce, because his way of singing the entire role of Rodolfo is simple, without too many frills. The others unfortunately pale in comparison to him, but I must say that Mary Lincoln truly surprised me: she sings a great Mimì! The opera is sung entirely in English, and it would have been interesting to include subtitles.

In any case, I can only say that this edition is absolutely unmissable!!