Behind the comfy television stereotypes are gritty ‘bohemian’ stereotypes that make the story even more trenchant because they embody the dreams of middle-class college students who, for a time, want to be starving artists freezing in a garret, loving and losing freely, celebrating life with temporary immunity from long-term consequences. La Bohème says it all about that stage of life as Zeffirelli’s earlier iconic success, Romeo and Juliet, says it all about an earlier stage of life, teenage lovers who live with their parents.

Puccini’s music comes right from the heart, is beautifully orchestrated, and follows the drama of common characters who express larger than life emotions in full lyric flow of melodies as affecting and memorable as any from popular musical theatre. Not surprising that Jonathan Larson borrowed characters, storyline and melodies from Puccini for his 1994 award winning musical, Rent. Puccini, like Charles Dickens, had that combination of common touch and dreams of the heart that bring audience pleasure to the fullness of tears.

The casting is ideal with Angela Gheorghiu and Ramon Vargas in the principal roles. Both possess truly beautiful voices. Gheorghius’s voice has an opalescent, fragile timbre that conveys a hint of Mimi’s terminal lung disease. Vargas has a bright, lyric sound that lands lightly on the high C in “Che Gelida Manina”. Both artists display musical intelligence and an unmatched chemistry that shows in their acting. It is great to have a camera zoom in to catch the sincerity of emotion in their facial expressions, especially Mimi’s sexiness that ripples through every part of her body as she and Rodolfo prepare to leave for the first time the room in which they fell in love.

Every one of the principals is attractive, sings beautifully, acts well. The sets are monumental, the camera work exemplary, audio is great, and the bonus backstage moments hosted by Renee Fleming round out a recommended without reservation rating.

by Stanley Fefferman — April 2009