Giacomo Puccini - La BohA¨me / Barker, Hobson, Luhrmann (1994)

La Boheme (David Hobson)

I have been a fan of this opera since I purchased my first album of it as a pre-teen in the late 1960's. Since then I think I have gotten or have listened to almost every version.

When I saw the David Hobson version from 1993, I fell to my knees!! I had never heard or seen a more stunning interpretation of Puccini's greatest!! I realized I had never seen "La Boheme" the way it was intended until then! David Hobson's heart felt and heart-wrenching performance brings me to tears each time! The entire cast is great, but it is David Hobson's magnificent presence that drives the production!!!

David, "Bravo" a thousand times! THANK YOU FOR LETTING ME REALLY FEEL THIS WONDERFUL STORY FOR THE FIRST TIME!!! You are truly a great artist!!!

September 23, 2008

A good Bohème, but not for native speakers of Italian

There are many novelties in this performance, but the staging is eccentric. Soprano Cheryl Barker stands out for her sympathetic singing, but her Italian pronunciation is marred by a strong English accent. Some singers have tattoos and smoke cigarettes on stage. Perhaps this is a heavy-handed reference to the fact that Puccini, a chain smoker, died of a heart attack after an operation for throat cancer. I was particularly disappointed by the final scene with the death of Mimi where Rodolfo, after discovering that Mimi has died, remains on a ladder rather than rushing to her side to sing his final lines. (Why do modern stage directors have this ridiculous fetish with ladders.) Despite its imperfections, the old Karajan,Freni,Raimondi,Panerai recording remains the most moving performance of La Bohème on DVD. To be honest, despite the popularity of this opera, a definitive performance of La Bohème on DVD still does not exist. Of course, there may be one I haven't seen. February 25, 2008

Overall, the best La Boheme I have seen

Like many others, my favorite opera is Puccini's La Boheme. I have seen several performances and heard even more recordings and excerpts. By far my favorite performance and by far the one I have played the most is the 1993 Australian Opera performance with Cheryl Barker and David Hobson.

Are Barker, Hobson, and the rest of the Australians as good musically as the likes of Freni, Pavarotti, and Von Karajan? No. If I want to hear the most wonderful singing and orchestral work, the 1972 studio recording with Von Karajan is superior. However, for me, the Australians do the opera as a whole better. The music making of both major and minor characters closely and consistently fits the story line. For example, when Hobson's Rodolfo sings Che Gelida Manina, the aria in which his lighter voice is most exposed, he sounds (and looks) more like a guy trying to hit on a girl than an opera singer trying to earn applause. Other factors also make a difference. Barker's Mimi understands a stage whisper. When she sings softly, you still hear and understand her. Freni, my all-time favorite Mimi, along with many other Mimi's, sometimes reduces the volume so low in soft sections that she can be quite difficult to hear. Finally, but not least, the acting and sets work much better for me than other versions.

After seeing the Australians, I understand La Boheme in ways I had never done before. In particular, I understand that the Rodolfo has character flaws that are as important to the story as Mimi's illness. In the libretto, Rodolfo is not only beset by jealousy, he lies frequently. His biggest deception is not telling Mimi that he thinks she is fatally ill and that the living conditions he provides are contributing to her illness. Instead, he tells her that "You are not for me" and to find another boyfriend. Until, she overhears him in the third act, she never learns that he thinks another man might provide conditions that could save her life. When you watch or hear virtually all other versions, Rodolfo is played as a heroic person, not one who has hidden critical and vital information from his lover in order to preserve his own image.

The libretto of La Boheme is distinguished by its many observations of human behavior and human nature. The Australians consistently illustrate what is happening in the libretto in detail and depth where typical performances tend to be hit and miss, sometimes glossing over the meaning of what is occurring while still singing all the words and playing all the notes. This attention extends beyond the words a principle sings to actions and behaviors not explicit in the libretto. Notice how Hobson's Rodolfo is overly fond of wine, sneaking a drink even as he first meets Mimi. Also note how the characters of Schaunard and Colline are developed beyond the libretto. In the Australians' production, they are clearly very good friends and are often seen conversing in the background. While Schaunard is flamboyant in his yellow suit, Colline is a prankster. See how he appropriates Schaunard's scarf at the beginning of the second act and later takes the place of the kid imitating Musetta's walk.

The total result feels more like watching a movie than an opera. This feeling is enhanced by camera angles that one seldom sees when watching opera. The turning set lets you experience both the outside as well as the inside of Rodolfo's garret. When Mimi steps outside to see Rodolfo's friends, you can see her looking over rooftops after first glancing down. In the last act, note the view of Mimi from the side, i.e. from Rodolfo's viewpoint. The movie-like experience is so strong for me that I have to shut off the picture to really listen to the singing. When the picture is present, the orchestra actually fades into the background so much I have difficulty noticing it.

In looking at several amateur reviews of the Australians' performance, I think others have also been seduced by the visual show into not really attending to the music making. A surprising minority of persons seem to think the Australians only look great and do not perform well musically, just as a surprising number believe that Anna Netrebko is all charisma and sex appeal and cannot really sing. In fact, both the Australians and Netrebko actually sing very, very well. Those who think the singing is poor or that the conducting is flabby should listen again without watching the picture. (If you have little time or patience, just compare the last half of Act 4 with your favorite version.) If I had to keep just one production of the opera, I would keep the Australian. While I would dearly miss the voices of Freni and Pavarotti, I prefer the totality of the experience provided by the Australians. Their version of La Boheme is the one to which I return the most.
January 20, 2008

Good, but I am a little disappointed

This opera is well sung and the music is well played, but I don't care much for Baz Luhrmans staging. In particular I was really disappointed with the overall look of the third act. Traditionaly, this act is an opportunity for the stage people to show off their skills and create a breathtaking outdoor winter scene. This third act looked like it took place in a concentration camp.
Another thing I didn't like about this production, is the half-dead Australian audience, who apparently feel that applause is impolite. The only time they reacted was at the end of each act. I never heard any "bravos" or "bravas," even though they were clearly deserved.
If you are looking for a nice DVD of this opera, I suggest one presented live by the Metropolitan Opera. October 11, 2007

Baz Luhrman spectacular

This production with David Hobson and Cheryl is simply superb. Set in Parisian fifties, David Hobson's lyrical voice and gorgeous looks lend great empathy to the role. Cheryl Barker sings and acts beautifully and the whole production leaves not a dry eye in the house. Wonderful! September 8, 2007

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