'''La bohème'''
[1] is an
opera in four acts by
Giacomo Puccini to an Italian
libretto by
Luigi Illica and
Giuseppe Giacosa, based on ''
Scènes de la vie de Bohème'' by
Henri Murger. The world première of ''La bohème'' was performed in
Turin on
February 1,
1896 at the Teatro Regio (now the
Teatro Regio Torino) and conducted by the young
Arturo Toscanini. In
1946, fifty years after the opera's premiere, Toscanini conducted a performance of it on U.S. radio, and this performance was eventually released on records and on
compact disc. It is the only recording of a Puccini opera by its original conductor.
Ruggero Leoncavallo composed an opera of the same name and it is based on the same story, but with his own libretto. His ''
La bohème'', which was premiered in
1897, focuses more on the Musetta and Marcello relationship, rather than that of Mimì and Rodolfo as in Puccini's version. Leoncavallo's version is almost never performed, while Puccini's is a staple of the standard operatic repertoire.
It appears on
Opera America's list of the 20 most-performed operas in North America
[2], where it appears as Number 2, second only to ''
Madama Butterfly'', also a masterpiece by Puccini.
Roles
| Role | Voice type | Premiere Cast, February 1, 1896
(Conductor: Arturo Toscanini) |
|---|
| Rodolfo, ''a poet'' | tenor | Evan Gorgo |
| Mimì, ''a seamstress'' | soprano | Cesira Ferrani |
| Marcello, ''a painter'' | baritone | Tieste Wilmant |
| Schaunard, ''a musician'' | baritone | Antonio Pini-Corsi |
| Colline, ''a philosopher'' | bass | Michele Mazzara |
| Musetta, ''a singer'' | soprano | Camilla Pasini |
| Benoît, ''their landlord'' | bass | Alessandro Polonini |
| Alcindoro, ''a state councillor'' | bass | Alessandro Polonini |
| Parpignol, ''a toy vendor'' | tenor | Dante Zucchi |
| A customs Sergeant | bass | Felice Fogli |
| ''Students, working girls, townsfolk, shopkeepers, street-vendors, soldiers, waiters, children'' |
Synopsis
Original poster
:Place:
Paris.
:Time:
1830-
1831.
Act I
''In the four bohemians'
garret.''
Marcello is painting while Rodolfo gazes out of the window. In order to keep warm, they burn the manuscript of Rodolfo's drama. Colline, the philosopher, enters shivering and disgruntled at not having been able to
pawn some books. Schaunard, the musician of the group, arrives with food, firewood, wine, cigars, and money, and he explains the source of his riches, a job with an eccentric English
gentleman. The others hardly listen to his tale as they fall ravenously upon the food. Schaunard interrupts them by whisking the meal away and declaring that they will all celebrate his good fortune by dining at Cafe Momus instead.
While they drink, Benoit, the landlord, arrives to collect the rent. They flatter him and ply him with wine. In his drunkenness, he recites his amorous adventures, but when he also declares he is married, they thrust him from the room--without the rent payment--in comic moral indignation. The rent money is divided for their carousal in the ''
Quartier Latin''.
The other Bohemians go out, but Rodolfo remains alone for a moment in order to finish a newspaper article, promising to join his friends soon. There is a knock at the door, and Mimì, a seamstress who lives in a flat below, enters. Her candle has blown out, and she has no matches; she asks Rodolfo to light it. She thanks him, but returns a few seconds later, saying she has lost her key. Both candles are extinguished; the pair stumble in the dark. Rodolfo, eager to spend time with Mimi, finds the key and pockets it, feigning innocence. In two arias (Rodolfo's "Che gelida manina — What a cold little hand" and Mimi's "Sì, mi chiamano Mimì — Yes, they call me Mimì"), they tell each other about their different backgrounds. Impatiently, the waiting friends call Rodolfo, but, while he suggests remaining at home with Mimì, she decides to accompany him. As they leave, they sing of their newfound love. (Duet, Rodolfo and Mimì: "O soave fanciulla — Oh gentle maiden")
Act II
''Quartier Latin''.
A great crowd has gathered with street sellers announcing their wares. (Chorus: "Aranci, datteri! Caldi i marroni — Oranges, dates! Hot chestnuts."). The friends appear, flushed with gaiety; Roldolfo buys Mimi a hat from a vendor. Parisians gossip with friends and bargain with the vendors; children clamor to see the wares of Parpignol, the toy seller. The friends enter the Cafe Momus.
As the men and Mimi dine at the cafe, Musetta, formerly Marcello's sweetheart, arrives with her rich (and aging) government minister admirer, Alcindoro, to whom she speaks as she might to a lapdog. It is clear she has tired of him. To the delight of the Parisians and the embarrassment of her patron, she sings a risque song ("Quando me'n vo — When I go along"), hoping to reclaim Marcello's attention. Soon Marcello is burning with jealousy. To be rid of Alcindoro for a bit, she pretends to be suffering from a tight shoe and sends him with it to the shoemaker to be fixed. During the ensemble which follows, Musetta and Marcello fall into each other's arms and reconcile.
The friends are presented with the bill, and to their consternation find that Schaunard's money is not enough to pay it. The sly Musetta has the entire bill charged to Alcindoro. The sound of the approaching soldiers is heard, and, picking up Musetta, Marcello and Colline carry her out on their shoulders amid the applause of the spectators. When all have gone, Alcindoro arrives with the repaired shoe seeking Musetta. The waiter hands him the bill, and, horror-stricken at the charge, Alcindoro sinks into a chair.
Act III
''At the toll gate.''
Peddlers pass through the barriers and enter the city. Amongst them is Mimì, coughing violently. She tries to find Marcello, who lives in a little tavern nearby where he paints signs for the innkeeper. She tells him of her hard life with Rodolfo, who has abandoned her that night. ("O buon Marcello, aiuto! – Oh, good Marcello, help me!"). Marcello tells her that Rodolfo is asleep inside, but he wakes up and comes out looking for Marcello. Mimì hides and overhears Rodolfo first telling Marcello that he left Mimi because of her coquettishness, but finally confessing that he fears she is slowly being consumed by a deadly illness (most likely
tuberculosis, known by the catchall name "consumption" in the nineteenth century). Rodolfo, in his poverty, can do little to help Mimi and hopes that his pretended unkindness will inspire her to seek another, wealthier suitor. Out of kindness towards Mimì, Marcello tries to silence him, but she has already heard all. Her coughing reveals her presence, and Rodolfo and Mimì sing of their lost love. They make plans to separate amicably (Mimì: "Donde lieta uscì – From here she happily left"), but their love for one another is too strong. As a compromise, they agree to remain together until the spring, when the world is coming to life again and no one feels truly alone. Meanwhile, Marcello has joined Musetta, and the couple quarrel fiercely: an antithetical counterpoint to the others' reconciliation. (Quartet: Mimì, Rodolfo, Musetta, Marcello: "Addio dolce svegliare alla mattina! – Goodbye, sweet awakening in the morning!")
Act IV.
''Back in the garret.''
Marcello and Rodolfo are seemingly at work, though they are primarily bemoaning the loss of their respective loves. (Duet: "O Mimì, tu più non torni" – O Mimì, will you not return?). Schaunard and Colline arrive with a very frugal dinner and all parody eating a plentiful banquet, dance together, and sing. Musetta arrives with news: Mimi, who took up with a wealthy viscount after leaving Rodolfo in the spring, has left her patron. Musetta has found her wandering the streets, severely weakened by her illness, and has brought her back to the garret. Mimi, haggard and pale, is assisted into a chair. Musetta and Marcello leave to sell Musetta's earrings in order to buy medicine, and Colline leaves to pawn his overcoat (Colline: "Vecchia zimarra – Old coat"). Schaunard, urged by Colline, quietly departs to give Mimi and Rodolfo time together. Left alone, they recall their past happiness. (Duet, Mimì and Rodolfo: "Sono andati? – Have they gone?"). They relive their first meeting--the candles, the lost key--and, to Mimi's delight, Rodolfo presents her with the little hat he bought her, which he has kept as a souvenir of their love. The others return, with a gift of a muff to warm Mimi's hands and some medicine, and tell Rodolfo that a doctor has been summoned, but it is too late to help their friend, who lapses into unconsiousness. As Musetta prays, Mimi dies. Schaunard discovers Mimi lifeless. Rodolfo cries out Mimì's name in anguish, and weeps helplessly.
Noted arias
★ "Che gelida manina" (What a frozen little hand) - Rodolfo in Act I
★ "Sì, mi chiamano Mimì" (Yes, they call me Mimì) - Mimì in Act I
★ "O soave fanciulla" (O gentle maiden) - Rodolfo & Mimì in Act I
★ "Quando me'n vo soletta per la via" (When I go out alone in the street) - Musetta in Act II
★ "Donde lieta uscì al tuo grido d'amore" (From here she happily left [to the sound of] your cry of love) - Mimì in Act III
★ "O Mimì, tu più non torni" (O Mimì, will you not return? ) - Rodolfo & Marcello in Act IV
★ "Vecchia zimarra" (Old coat) - Colline in Act IV
★ "Sono andati? Fingevo di dormire" (Have they gone? I was pretending to sleep) - Mimì in Act IV
Orchestration
La bohème is scored for:
Adaptations
In 2003, the opera was given a
Tony Award-winning Broadway production by
Baz Luhrmann, with modernized supertitle translations. This version was set in 1957, rather than the original time period of 1830. The reason for updating La bohème to this period, according to Baz Luhrmann, was that "... [they] discovered that 1957 was a very, very accurate match for the social and economic realities of Paris in the 1840s."
To play the eight performances per week, three casts of Mimìs and Rudolfos, and two Musettas and Marcellos, were used in rotation. This production was based on Luhrmann's previous production for
Opera Australia in
1993 with a budget of only
AU$60,000.
Other famous adaptations of the opera include:
★ A
1926 silent film (actually quite different from the opera) from
MGM, starring
Lilian Gish as Mimi.
★ A
1935 British sound film entitled ''Mimi'', starring
Gertrude Lawrence and
Douglas Fairbanks, Jr.. This film used the Puccini score only as background music.
★ The film ''Thriller'' by
Sally Potter.
★ The film ''Boheemielämää'' (''La vie de bohème''), by
Aki Kaurismäki.
★ Some aspects of the film ''
Moulin Rouge!'' by Baz Luhrmann
★
RENT, the 1996 rock opera, and 2005 motion picture. Music and lyrics by Jonathan Larson.
References in popular culture
★ An episode of "
Animaniacs" is entitled "La Bohemeth" and has references to this and other operas.
★ In the film ''
Trading Places'', when
Dan Aykroyd’s character, a
stereotypically snobbish
Harvard graduate, is arrested and booked, the officer logs the contents of his pockets: “One pair of tickets: ‘La Bo Heem’” to which Aykroyd corrects the pronunciation.
★ In the film "
Heavenly Creatures", "Sono andati" is featured and performed by
Kate Winslet.
★ The music of ''La bohème'' is featured prominently in the film ''
Moonstruck''.
★ The music of ''La bohème'' can be found in the film "A Woman Under the Influence" by John Cassavetes.
★ In the film ''
Awakenings'',
Robin Williams' character attempts (unsuccessfully) to get a response from his
catatonic patients by playing a recording of "O soave fanciulla".
★ The plot of the musical ''
Rent'' was based on that of ''La bohème'', with the variation being that
HIV/
AIDS replaces
consumption as the character's illness. The illness also strikes four of the show's characters instead of just Mimi, whose character concept is changed from a coquettish seamstress to a drug-addicted
S&M dancer.
★ The song "Turn of the Century" by
Yes has tangential similarities with the Rodolfo/Mimi story. Rohan, a sculptor, uses his unnamed female partner as muse, model and lover. When he cries "let clay transform thee so" in an attempt to fix her likeness, his words rebound on him and she dies in the depth of winter.
★ In the film ''
The Boondock Saints'', FBI detective Paul Smecker (
Willem Dafoe) is listening to "Mi chiamano Mimì" during his first investigation on the Boondock Saints.
★ In the film ''
Kate and Leopold'', Kate's boss is discussing ''La bohème'' at dinner with Leopold, and Leopold corrects him on his misconceptions. Ironically Leopold, who comes from the year 1876, shouldn't even know ''La Boheme'', as the first performance of the Puccini opera was in 1896, and Leoncavallo's in 1897.
★ "O soave fanciulla" is being played on Giles' stereo during the critical moment when he discovers the murder of Jenny Calendar, in the
Buffy the Vampire Slayer episode "
Passion" (season 2).
★ In the book "The A-List" by Zoey Dean, the character Cynthia is said to have spent the entire second act of La bohème making out with a middle-aged man.
★ The
Doctor Who spin-off novel
Lungbarrow has the Doctor's ex-companion Ace as a customer at Café Momus in the 19th century; it is mentioned that a group of people at the next table are rowdy and keep singing loudly; in the author's notes, it is stated that this group of people could possibly have been Mimi, Rudolfo and friends.
★ The popular song, "Don't You Know," recorded by Della Reese in 1959, was adapted from Musetta's second act aria known as "Musetta's Waltz."
★ The holographic Doctor (the EMH) in the TV show "Star Trek: Voyager" enjoys singing opera, and sometimes performs Puccini. In the episode "The Swarm", the Doctor is working on "O soave fanciulla" and sings parts of it during the episode.
★ In an episode of ''
The Odd Couple'' in which
Felix Unger takes a job at his brother's bubblegum factory, Felix introduces a set of Great Moments in Opera trading cards (like baseball cards, except depicting opera scenes) to accompany another of his other innovations, broccoli-flavored gum. Felix' brother shows Oscar one of the cards, which reads: "#17: Mimi gets tuberculosis."
Notes
1. The title, which is French (although the opera is sung in Italian) and is pronounced refers to the bohemian life the characters lead (not to the historical region in the present-day Czech Republic, Bohemia). (Another possible translation, and perhaps a secondary meaning intended by the librettists, is "The bohemian girl," i.e. Mimi herself.)
2. OPERA America's "The Top 20" list of most-performed operas
References and external links
★ Opera plots taken from ''The Opera Goer's Complete Guide'' by Leo Melitz,
1921 version.
★
Video of the Final Scene of La Boheme with Roberto Alagna and Angela Gheorghiu
★
Recordings of Puccini's ''La bohème''
★
Another site with recordings of ''La bohème''
★
Libretto in Italian
★
Scènes de la vie de bohème on Gutenberg.org
★
Recommended discography
★
Upcoming performances from Operabase.com
★
Full Piano Score with notes
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