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SEEN AND HEARD
INTERNATIONAL OPERA REVIEW Puccini, La Bohème: Soloists, Chorus, Children’s Chorus and Orchestra of Teatro Colón. Conductor: Stefano Ranzani, Teatro Colón, Buenos Aires. 1.6.2010. (JSJ) Director/sets/lighting/costumes: Hugo de Ana Chorus: Antonio Domenighini Children’s Chorus: Valdo Sciammarella Cast: Rodolfo: Marius Manea Mimì: Virginia Tola Marcello: Marco Caria Musetta: Nicole Cabell Schaunard: Omar Carrión / Luciano Garay Colline: Denis Sedov / Kevin Burdett Benoit: Fernando Grassi Alcindoro: Leonardo Estévez Parpignol: Ricardo Cassinelli
Finally, the big moment of the reopening of the Teatro Colón after almost four years of renovations, has occurred. The opening itself on May 24 was apparently very much a political occasion, run from the City Hall with invitations closely guarded. The broader public had to wait another two days for the opening of the first production in the old “home,” La Bohème – the most produced opera in the Colón, as indeed in many other houses, and one guaranteed, if it was necessary, to ensure an enthusiastic public filling the house.
The Bohemian’s garret (Act 1) with Marius Manea (Rodolfo) and Virginia Tola (Mimi).
This review pertains to the fourth performance (of six) of the work and packed from the lower platea all the way up to the lofty paraíso, the atmosphere was palpable. The theatre is quite grand, tastefully and elegantly restored with reds, golds, and whites, magnificent new curtains, and plush decor and seating. The sense of history is strong with the magnificent painted cupola bearing the names of some of the great composers whose works have been presented down the years and bringing to mind some of the many great names who have made music within its walls – Strauss, Stravinsky, Toscanini, Furtwängler, Gigli, Callas ... One cannot but feel privileged to be in this place.
And as grand as the theatre is, so too was this production by Hugo de Ana – Buenos Aires born, with a successful international career – with full use being made of the expansive stage. The scenography was extensive, accurate (largely) and convincing – the rooftop attic in which the work opens surrounded by rooftops and smoking chimneys, Café Momus a colourful hustle and bustle, and a snowy street scene in Act 3. Yet there were also some exaggerations, such as the two vintage cars and the bicycle, which weren’t in existence in the 1830s when the work is set, but these can be forgiven.
The cast was quite an international one with singers from across the globe, including Argentines Virginia Tola (Mimi) and Omar Carrión (Schaunard), Nicole Cabell (Musetta) from the US, Marius Manea (Rodolfo) from Romania, Marco Caria (Marcello) from Sardinia, and Denis Sedov (Colline) presumably from Russia. All gave good performances, in particular Cabell as an understated but striking Musetta, and Caria an outstanding Marcello, with firm and commanding line and fine timbre.
Both the adult and childrens’ choruses were enthusiastic, and the orchestra played well under a score-less Stefano Ranzani, who specialises in this genre.
All in all this was a good but not truly outstanding Bohème, but one that was worthy for this important occasion in the Colón’s history and for launching the theatre on the trajectory back to its former greatness.
Jonathan Spencer Jones
Picture ©
Teatro Colón, Buenos Aires/Colombaroli