La Boheme

I was looking forward to this production of La Boheme. With a new creative vision from world renowned director Gale Edwards, and introducing Melbourne audiences to the media hyped US soprano Takesha Meshe Kizart, it promised a special night at the opera.

 Presented by: Opera AustraliaVenue: The Arts Centre, Melbourne Tuesday, 12 April, 2011 
I was looking forward to this production of La Boheme. With a new creative vision from world renowned director Gale Edwards, and introducing Melbourne audiences to the media hyped US soprano Takesha Meshe Kizart, it promised a special night at the opera. However its failings left me disappointed that OA continue to produce shows that fall well short of the excellence I long for from our flagship company.
Edwards transports Puccini’s Parisian bohemians to 1930s Berlin, the time of the final throes of the Weimar Republic. I remain unconvinced this adds to the drama, and if one hasn’t time to read the extensive explanatory program notes or press releases – i.e. most of the audience – the occasional “we are in 30s Germany”  references, like storm troopers in Act III and a marching of band of blond clones invading the Cafe Momus, are confusing. The splendidly ornate Cafe Momus, meant to resemble a Spiegeltent, could just have easily been a Moulin Rouge type establishment, complete as it was with dancers with bare boobies.
With such attention going into the spectacle, the contrast with the poor direction of the singers was jarring.
Despite first rate singing, and committed acting, from the male principals – in particular the splendid tenor Ji-Min Park (Rodolfo) and Andrew Jones (Marcello) – pivotal scenes were devoid of dramatic truth. Musical highlights that should have had the hairs standing on the back of my neck were ruined by upstage business such as a strip-tease; the highly distracting posing by Schaunard (Shane Lawrence) during Mimi’s death scene; and it beats me why Marcello and Musetta needed to spin around on the revolve behind Rodolfo’s and Mimi’s big kiss-and-make-up scene.
Lack of strong direction also robbed Ji-Min Park and Kizart (Mimi) of any chance of stage chemistry. Kizart appeared uncomfortable on the night and, to my ears,  struggled with the vocal demands of the role. But all sympathy to her for the sack of a dress, in a most unflattering shade of pink, that is her costume. As Musetta, lyric soprano Taryn Fiebig is a curious casting choice, but carries the role off with aplomb. 
Whatever travesties a director may bring to this opera, Puccini’s music is still glorious. With his wealth of experience from top international opera houses, conductor Christian Badea clearly inspired Orchestra Victoria, who played with stirring lyricism and obvious enjoyment. As is often the case in this theatre, the orchestra occasionally overwhelms the singers. With such inconsistencies on stage, I took advantage of those moments to close my eyes, enjoy the music, and dream of Paris. And the perfect Boheme? I’m still waiting.                  Season Closed