Critic Albert G. Storace reviews La Bohème, the highlight of Gaulitana’s 2024 Festival Edition joining celebrations around the world marking the musical legagy of Giacomo Puccini.
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THE EVERGREEN ALLURE of LA BOHÈME
Gaulitana Festival’s Opera Weekend continued with an almost packed house in a special tribute to Puccini during this first centenary celebration of his death. It is not that one has to wait for a special anniversary to put on one of his operas. The public would still attend. This evening’s performance was under the distinguished patronage of Her Excellency Myriam Spiteri Debono, President of Malta.
The first time I saw La Bohème I was not yet nine and most of what I remember were bits of arias and duets, beautiful music and colour, a vague remembrance of Oreste Kirkop’s Rodolfo and the lively character of Sandra Ballinari’s Musetta,, who later became a very famous soubrette. Finally the rather sad sensation at the end. After a few tears and more performances mine were among the eyes which do not remain dry at opera’s end.
The story repeated itself last Saturday. That’s the magic of opera and this one is no exception. It is about real people, real emotions and problems. The impoverished, struggling and ever-hungry and ever-cold Bohemians in winter; some racked by incurable disease. They tried to cope: loved, eaten by jealousy, flirting and changing relationships, quarrels, rapprochement, dodging overdue rent and fleecing a sugar daddy. In a way little has changed since 1830s Paris…at least for the underprivileged.
The amazing thing about good opera is that it also good theatre and Puccini was that. He and his librettists created a work of genius and whenever it is properly done, with no gimmicks and attempts at doing one better than the composer, the work would hold no water.
Many elements contributed to this production’s success. Enrico Castiglione’s straightforward direction was one strong and vital element. He designed the sets expertly built by the stage crew. Castiglione’s handling of the very crowded Act 2 outside the Cafè Momus was lively and brilliant and one could say very well-choreographed. The children were very natural in their behaviour.
The sheer poverty projected by the garret in the outer Acts and the bleakness of Act 3 was a kind of cold which could almost be felt. The music underscored it all as it did in that rare oasis of happiness which was Act 2.
This production was also blessed with the whole cast endowed with a very high level of acting skills. No exceptions there. With regard to the singing, I am afraid to say that did not match voice with acting. In soprano Federica Vitali’s Mimì, I could barely believe this was the same singer who not so long ago left such an all-round good impression at the Aurora in the title role of Madama Butterfly. Vocally, was it her bad day today? Pity!
There was this cast of very good, convincing singing actors/actresses. Tenor David Junghoon Kim’s Rodolfo was amazing, especially when considering that as I heard after the performance, he had had such a bad dorsal problem that he could not even make it to the dress rehearsal.
Rodolfo’s fellow Bohemians interacted very well and were on top form. The tall Yuriy Yurchuc was an excellent Marcello unable to shake off Musetta’s spell on him. Costantino Finucci’s Schaunard was the only one of the four bachelors Puccini left without an aria. He at least had quite a lot of ensemble work to do. Romano Dal Zovo’s Colline did very well in his Act 4 Vecchia zimarra deepfelt sad but not over the top doleful voice.
Nicola Said’s Musetta was a very capricious spoilt, entitled, flirtatious brat who in the end proves to be a veritable tart with a heart. She carried it off very well. Alessandro Busi had the double role of the bumbling landlord Benoît and fleeced sugar daddy Alcindoro. Other minor roles were Stanley Joe Portelli’s colourful Parpignol, Carlo Alberto Veronesi’s customs sergeant and Josef Cassar’s customs official.
Gaulitanus choir and the Children’s Choirs were very well coached, cued and did very well too. The light design was very good and costumes looked pretty authentic too. The MPO too was of course on top form as captained by the energetic Colin Attard.
Yes, few eyes remained dry at the end. Puccini’s magic had worked again!
Albert G. Storace
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