WA Opera La Boheme a delight
OPERA
La Boheme
WA Opera
His Majesty's Theatre
REVIEW: ROSALIND APPLEBY
WA Opera's self-proclaimed Year of the Divo is coming to an end. The year started with baritone hunk Teddy Tahu- Rhodes as the alpha-male Don Giovanni, followed by Rosario La Spina's resplendent Alfredo in La Traviata. But the best "male moment" was provided by not one but four divos in the current production of La Boheme.
Puccini's famous operatic depiction of 19th century bohemian Paris is constructed around the love between Rodolfo and Mimi but much of the energy comes from the youthful antics of Rodolfo's artisan friends.
The easy-flowing banter between Rodolfo and Marcello (a painter), Colline (philosopher) and Schaunard (musician) feels even more natural in this highly entertaining production thanks to director Simon Phillips' 1990s updated setting.
Stephen Curtis' set design celebrates the new context without sacrificing the intent of the original opera. Rodolfo's grotty bachelor pad is scattered with dirty dishes and milk crate furniture; a rap dancer and ghetto blaster replace the traditional fife and drum band in a riotous market scene (with the WA Opera Chorus bustling with activity) and the tollgate from Act Three is a warehouse alley.
The Opera Conference production was last in Perth in 2007 and has plenty of depth to warrant this revival (smoothly orchestrated by rehearsal director Cath Dadd). An example is the recurring rose motif, first seen painted on the flat window. In Act Three as Mimi and Rodolfo's relationship is threatened, decaying roses spill from a rubbish bin and in Act Four the louvre windows are open and the rose image is fragmented as Mimi dies.
The thought-provoking directorial concept was matched by an outstanding cast. American tenor Garrett Sorenson's emotion- laden, untamed voice gave a boy- next-door appeal to Rodolfo. Australian-Armenian Natalie Aroyan brought a fragile naivety to Mimi, with moments of voluminous soprano splendour. Her conversational Mi chiamano Mimi was full of shy smiles and expressively stretched phrases. As the lovers sang their duet O soave fanciulla, the apartment floor lifted and the entire set was winched above the stage; their youthful infatuation lifts them momentarily from the squalor of poverty.
Jose Carbo's brooding Marcello was the perfect match for Rachelle Durkin's charismatic Musetta and their squalling relationship - including a fistfight resolved by lovemaking - was highly entertaining. Adrian Tamburini was a noble Colline, Andrew Foote was in top form as Benoit the tipsy landlord and James Clayton was lovable as the loutish Schaunard.
The robust playing from the WA Symphony Orchestra under Joseph Colaneri overwhelmed the lovers during key moments in Act One but the orchestral colours were vibrant, with sassy winds and velvety strings lending moodiness to this engaging production.
