Puccini’s La Bohème is the kind of opera that does everything to please you – it is easy on the ear, everybody can relate to the plot (no gods or heros here – just ordinary people meeting each other and trying to make the best of it before death finally comes to put an end on it all) and it is also short enough for you to get a table in a restaurant afterwards. However, as much as people who try really hard to please you, operas like that will from some point on and then maybe forever make you sick with their docility. I have to confess that, although I still find Mimì’s dying process quite touching no matter how hard I try to snob it, I never feel like listening, let alone watching La Bohème.
You might be wondering why I am bothering to write all that about an opera I don’t really have patience to hear. The answer is that I have decided to give it a new try. Because I am in Berlin, a city where people are far from sentimental, I thought that maybe an objective approach to this opera could be possible. And that would be interesting – a staging that looks more like Ken Loach than like Franco Zeffirelli, I guessed, with a Straussian treatment to the orchestra and maybe some restraint regarding lachrimosity among singers. Well, I was wrong.
The Lindenoper’s staging of La Bohème looks like the destitute man’s Met production: it basically features the same ideas, but in their low-budget version. To make it worse, scenes involving chorus singers and extras are so poorly staged that you feel ashamed for whoever directed that. The cast, on the other hand, was able to pierce through the routine and try to offer something less mechanical. Anna Samuil clearly knows how a Puccini “little woman” should be portrayed and she is not afraid of trying, but her basic vocal and stage personality are heartily Russian. Her lyric soprano is sizeable enough and she has probably learnt with Mirella Freni’s recording how conversational passages should be handled in a natural middle register, but there is a Slavic metallic edge on her singing that makes her the opposite of vulnerable and her chest voice can be a bit brash. Her portrait was engaged, but not really spontaneous – and finally lacking affection. In spite of some top notes below true pitch, Adriane Queiroz’s Musetta was sung in sultry tone and with enough playfulness to build an almost three-dimensional coquette. One could tell that Charles Castronovo had a background in Mozart from his elegant phrasing, good taste and concern with the text. His high notes are not exuberant as many an Italian tenor’s, but he strangely seemed to benefit from that in order to integrate them in his legato approach. Alfredo Daza’s heaviness and graininess made him a particularly unfriendly Marcello. Christof Fischesser, on the other hand, was a rich-toned, straight-forward Colline. All involved were at least at ease with the acting demands – and the closing scene was particularly well-handled by the cast. It is a pity only that conductor Alexander Vitlin never went beyond surface, often offering indistinct orchestral sound and choosing effect instead of true musical expression.