Name: La Bohème
Start: 2022-02-23T00:00:00.000Z
End: 2022-03-08T00:00:00.000Z
Location: Deutsche Oper Berlin

Organization

Singer

Bass

Byung Gil Kim

Colline

Soprano

Adriana Ferfecka

Mimi

Tenor

Joseph Calleja

Rodolfo

Meechot Marrero

Musetta

Baritone

Markus Brück

Marcello

Joel Allison

Schaunard

Jörg Schörner

Benoît

Burkhard Ulrich

Alcindoro

Patrick Cook

Parpignol

Sam Park

A customs sergeant

Tyler Zimmerman

A customs officer

Stage director

Götz Friedrich

Conductor

Ivan Repušić

Lighting designer

Stephen Watson

Costume designer

Peter Sykora

Set designer

Chorus master

Thomas Richter

Christian Lindhorst

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Others

Choir of the Deutsche Oper Berlin

Kinderchor der Deutschen Oper Berlin

Ιταλικά

La Bohème

Berlin

Germany

La bohème Puccini

Public

Γερμανικά

Αγγλικά

Approved

La bohème Puccini2

Puccini had already proven to be a brilliant musical colorist with EDGAR [1889] and MANON LESCAUT, but it was only with LA BOHÈME that the correspondence between the material and his musical design was reached, of which Claude Debussy raved: "I know no one who described the Paris of that time as well as Puccini in LA BOHÈME". Puccini's impressionist sound technique combines subjective feeling with objective tone painting. Tone-painting elements, musical descriptions of the ambience, effective musical local color spread their magic from the 1st picture, when Rodolfo and Marcello burn the drama manuscript or when the poet of the impotent Mimì wets the face with drops of water, when in the 2nd picture the choir as a crowd is contrasted with the stage orchestra used for the military parade, when in the 3rd picture with economical, selected musical means create the atmosphere of a cold winter morning. On a frosty Christmas day in a Parisian rooftop studio, Rodolfo, the writer and Marcello, the painter, try to work. They are starving, have no fuel for their stove and no money for rent. Colline, the philosopher, wanted to bring books to the pawnshop and came back unfinished. The musician Schaunard had more luck, he brings edibles, firewood, cigars and money. The friends go to Café Momus, only Rodolfo wants to work. He is disturbed by a neighbor who asks for light, suffers an attack of weakness and loses her apartment key. So Rodolfo falls in love with Mimì, the embroiderer who is terminally ill with tuberculosis. Two months later, he abandons her because he can't stand to watch helplessly as Mimì's illness worsens in his poor cold dwelling. Six months later, Musetta, who was Marcello's lover for a long time, brings Mimì back terminally ill. Musetta gives her earrings to buy medicine, Colline his coat. Mimì is grateful and happy. Rodolfo believes she has fallen into a healing sleep. But Mimì is dead. In a dramaturgical relationship, LA BOHÈME bears traits of an experiment that has remained unrepeatable in Puccini's oeuvre: from the loose sequence of episodes of Louis Henri Murger's novel, the two librettists Illica and Giacosa have formed a libretto whose artistic maxim was to preserve the characters and the ambience of the novel, while allowing freedom to prevail in the selection and treatment of the episodes. They did not divide their textbook into nudes, but into pictures that are held together only by the bond of the love story between Rodolfo and Mimì. A counterpoint to this is the relationship between Musetta and Marcello. »Just as LA BOHÈME always addresses and challenges the most personal - intellectual snobbers and frustrated Beckmesser should avoid opera! -, I can only add very personally: In thirty years a little older, the longing has grown to trace the hopes and disappointments, dreams and pains of youth and to understand them in the game, formed into image, action and sound. Thus, the new encounter with this work becomes an expression of the longing for one's own youth. I think therein lies the open secret of the still living topicality of Puccini's LA BOHÈME.

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