Met Boheme

Your 'hot spot' for all classical music subjects. Non-classical music subjects are to be posted in the Corner Pub.

Moderators: Lance, Corlyss_D

Post Reply
lennygoran
Posts: 13975
Joined: Tue Mar 27, 2007 9:28 pm
Location: new york city

Met Boheme

Post by lennygoran » Fri Sep 28, 2018 5:12 am

Image

Can't imagine what took her so long to appreciate Zeffirelli’s production of Puccini’s “La Bohème! Regards, Len :lol:


Review: A Thrilling ‘La Bohème’ at the Met, Radiating Warmth


La Bohème


By Corinna da Fonseca-Wollheim

Sept. 26, 2018

I’ve never been much of a fan of Franco Zeffirelli’s production of Puccini’s “La Bohème,” with its realistic sets and dowdy charm. But I developed an unexpected fondness for it on Tuesday, at the premiere of a revival of this Metropolitan Opera stalwart.

That’s partly because the tackiness of the Met’s new “Samson et Dalila,” with which the company opened its season on Monday, was still singed onto my retinas. The stage sometimes resembled the set of a TED talk, and generated about as much spontaneity from the performers.

Suddenly I was thankful for Mr. Zeffirelli’s care in creating theatrical spaces in which characters could have plausibly human interactions. His painstaking replica of Paris’s Latin Quarter played home to a stellar young cast that filled it with thrilling singing as well as a much scarcer commodity at the 4,000-seat Met: emotional warmth.


It was an evening of debuts. The Australian soprano Nicole Car brought fine-grained tone and nuanced acting to the role of Mimì. There was a light, linear quality to her singing in the first act that opened up to a richer palette as renunciation and terminal illness darkened her character’s life. Her final scene, with Mimì on her deathbed surrounded by friends, was all the more poignant because she showed no trace of melancholy.


Also making his Met debut was Etienne Dupuis, Ms. Car’s husband, who revealed a suave, empathetic baritone as Marcello, the leading man’s best friend. Refined and charismatic, his singing anchored many ensemble numbers.

Peeking out of the orchestra pit was a new face, too. Making his house debut, James Gaffigan led an energetic performance, scrupulously attentive to the singers and not averse to taking risks with the tempo or teasing a little extra juice out of a phrase. His communication with the orchestra wasn’t always symbiotic, but the trust he commanded on stage was palpable.

And in Vittorio Grigolo’s dazzling Rodolfo, Mr. Gaffigan had a lead tenor worth following. Mr. Grigolo has one of the healthiest and most versatile voices in opera, boasting a rare combination of power and beauty. He also seems to have an inner dashboard with multiple dials regulating volume, heat, contour and depth, which he plays with absolute confidence.

When he first meets Mimì, Rodolfo sings, “E come vivo? Vivo!” (“How do I live? I live!”) But panache gave way to a hint of dissatisfaction and yearning as Mr. Grigolo allowed that ringing repetition of “vivo” to taper off and melt into doubt. His duet with Mimì in Act III, full of fluctuating emotions and misunderstandings, was a model of textured acting supported by flexible singing. It may be an odd compliment to offer artists in the heightened world of opera, but rarely have I seen Puccini characters seem so normal.

The luxury cast also included Angel Blue as Musetta and the bass Matthew Rose as Colline. Ms. Blue’s forthright, full-bodied soprano is supplemented by a presence that radiates wit. To fans who have heard her Mimì, her turn as the spunky Musetta may seem a demotion, but with its irrepressible energy — and generous dollops of tenderness — her voice fit the character well. Mr. Rose turned in a splendid comic performance that deepened, near the end, into real dignity.

Puffs of dust rose occasionally from Mr. Zeffirelli’s decades-old furnishings during rough-and-tumble comic scenes. But the performers made this production feel fresh and sweet. It was not so much a revival as a transfiguration.



https://www.nytimes.com/2018/09/26/arts ... ic-reviews

maestrob
Posts: 5566
Joined: Tue Sep 16, 2008 11:30 am

Re: Met Boheme

Post by maestrob » Fri Sep 28, 2018 12:10 pm

Perhaps they'll show this on TV so I can comment. I'm not fond of Grigolo these days, but who knows?

lennygoran
Posts: 13975
Joined: Tue Mar 27, 2007 9:28 pm
Location: new york city

Re: Met Boheme

Post by lennygoran » Fri Sep 28, 2018 7:32 pm

maestrob wrote:
Fri Sep 28, 2018 12:10 pm
Perhaps they'll show this on TV so I can comment. I'm not fond of Grigolo these days, but who knows?
Brian we've enjoyed him. Regards, Len

barney
Posts: 2928
Joined: Fri Aug 01, 2008 11:12 pm
Location: Melbourne, Australia

Re: Met Boheme

Post by barney » Sun Sep 30, 2018 8:00 am

I just got back today from the US - I had three days in Chicago and four in New York (including the day of this opera), but on a program schedule. I had been desperate to go to this Boheme, because Nicole Car is a soprano I love. She hasn't got a big voice, but it is finely tuned and very flexible, and she is already an accomplished interpreter. I have followed her from the beginning. New York had big storms this day, and I had to go on a Hudson cruise in the evening which, while attractive enough, did not compare with the Met.
I am so pleased, though, that it was a successful debut.

lennygoran
Posts: 13975
Joined: Tue Mar 27, 2007 9:28 pm
Location: new york city

Re: Met Boheme

Post by lennygoran » Sun Sep 30, 2018 10:16 am

Barney we're down here in kennett square PA-the mushroom capital of America-you were in nyc and didn't tell us! Len :lol:

THEHORN
Posts: 2560
Joined: Sat Jun 14, 2008 8:57 am

Re: Met Boheme

Post by THEHORN » Sun Sep 30, 2018 2:34 pm

Ho him. Critics never seem to be able to avoid saying nasty things about the Met , and for the most part, they never have . The company is damned if it does and damned if it doesn't .
If they do a traditional , realistic Zeffirelli production, the critic sneer . If they do s non realistic, non-traditional productions the critics also blast them .
Met audiences love the Zeffirelli productions , and how can you blame them ? But the critics always sneer and praise Eurotrash productions as " edgy " and "innovative " no matter how stupid they are .

barney
Posts: 2928
Joined: Fri Aug 01, 2008 11:12 pm
Location: Melbourne, Australia

Re: Met Boheme

Post by barney » Mon Oct 01, 2018 3:51 am

lennygoran wrote:
Sun Sep 30, 2018 10:16 am
Barney we're down here in kennett square PA-the mushroom capital of America-you were in nyc and didn't tell us! Len :lol:
I was with a group on a program, or I would certainly have tried to meet whatever members of CMG could make it. The loss is entirely mine. I remember with delight our 2016 lunch, and a dinner with Maestrob and his charming wife Teresa (hope I have the right spelling). But he who pays the piper calls the tune, and it was not me!

lennygoran
Posts: 13975
Joined: Tue Mar 27, 2007 9:28 pm
Location: new york city

Re: Met Boheme

Post by lennygoran » Mon Oct 01, 2018 5:19 am

barney wrote:
Mon Oct 01, 2018 3:51 am
lennygoran wrote:
Sun Sep 30, 2018 10:16 am
Barney we're down here in kennett square PA-the mushroom capital of America-you were in nyc and didn't tell us! Len :lol:
I was with a group on a program, or I would certainly have tried to meet whatever members of CMG could make it. The loss is entirely mine. I remember with delight our 2016 lunch, and a dinner with Maestrob and his charming wife Teresa (hope I have the right spelling). But he who pays the piper calls the tune, and it was not me!
Barney-okay-this means you must come back to nyc again for us! Len from atlantic city :lol:

Post Reply

Who is online

Users browsing this forum: Google [Bot] and 38 guests