When Mimí sits down for a rest, the two get acquainted and fall madly in love. Rodolfo stays behind to finish up an article when a beautiful but frail seamstress from down the hall, Mimí, comes in to get a light for her candle which has gone out. They are required to use their wits to the put off the landlord so they can enjoy a meal at Café Momus. The four bohemians are struggling to pay rent and eat. The drama unfolds in the Latin quarter of late nineteenth century Paris, the setting of the opera’s world premiere performance in 1896. This riot of vibrant colour is the sparse studio’s only décor. The studio is strewn with Marcello’s work in the Belle Epoque style of late 19 th century France.
We are in the studio of four artists: Rodolfo (a poet played by tenor Atalla Ayan), Marcello (a painter played by Baritone Lucas Meachem ), Schaunard (a musician played by Bass-Baritone Phillip Addis) and Colline (a philosopher played by Bass-Baritone Brandon Cedel). The understated set is appropriate to the starving artist storyline, and yet also provides the opportunity to create chaotically striking primary setting. In the current production of this quintessential work, the sets and costumes take a back seat as compared to other COC productions, bringing the beloved arias and duets to the fore.
Towering, raw emotion in response to life and death situations and breathtaking musical beauty. In my view Puccini is what opera is all about. Regardless of what certain pompous composers and music historians have had to say about Puccini’s composition style, there is a reason why he has been an audience favourite for almost one hundred and fifty years.
The Canadian Opera Company’s current elegantly simple production of Giacomo Puccini’s La Bohème is aural perfection. Canadian Opera Company’s revival of its 2013 production of La Bohème is aural perfection
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