Watch a preview of the film:

A stellar review in Opera News raves: “It’s probably fair to say that this Bohème is one of the best filmic realizations of an opera since Francesco Rosi’s 1984 Carmen. Although the entire production was filmed within the confines of studio sound-stages, it is very much a movie, rather than an embalmed theater presentation. [The] camera sweeps the viewer right into the center of the action with decisive tracking shots and intimate close-ups; languid dissolves, superimpositions and subtle split-screen effects emphasize the sensuality of the plot, and of Puccini’s score.”

Discussing the differences between live performance and film, Netrebko remarks, “…the camera is very intimate. It’s coming really close to you. Your expressions…the eyes opening, the mouth, it’s reduced here to minimal. But instead of that, you have to put a lot inside your eyes, so you have the expression inside yourself.”

The theatrical film is helmed by director Robert Dornhelm, Oscar nominee for The Children of Theater Street and more recently Karajan, or Beauty as I See It, which aired on Great Performances in August 2009, offering a fascinating career retrospective of the great conductor Herbert von Karajan on the occasion of his 100th birthday.

Produced by Jan Mojto, Kurt J. Mrkwicka and Jeffrey D. Vanderveen, with Andreas Kamm and Oliver Auspitz as executive producers, La Bohème is a production of Unitel Classica and MR-Film Production, with the support of ORF Film-/Fernsehabkommen, Osterreichisches Filminstitut, and Filmfonds Wien, in association with IMG and Deutsche Grammophon in co-production with ZDF.

Great Performances is funded by the Irene Diamond Fund, the Anna- Maria and Stephen Kellen Arts Fund, Vivian Milstein, the Corporation for Public Broadcasting, public television viewers and PBS.

For Great Performances, John Walker is senior producer, Bill O’Donnell is series producer and David Horn is executive producer.

Pity the Rodolfo and Mimì pouring out their hearts this July in La Scala’s La Bohème. It’s possible that more people will be craning their necks to see 27-year-old Venezuelan conducting sensation Gustavo Dudamel in the pit, than either the Mimì (Italian soprano Carmela Remigio) or Rodolfo (American tenor James Valenti, who sang a televised Pinkerton this season at New York City Opera). Neither Valenti nor Remigio is a big name like Angela Gheorghiu, the Met’s Mimì this season, or Jonas Kaufmann, who sang Rodolfo in a Bohème conducted by Dudamel in February. But at least Remigio has lived through Dudamania before: she sang Donna Anna in a 2006 Don Giovanni he led in Milan.

Yes, Dudamania is in full swing. In Los Angeles, where Dudamel begins as the L.A. Philharmonic’s new music director in 2009-10, the orchestra welcomed its curly-haired superstar this spring with a lunch catered by none other than Pink’s hot dog stand, creating for the occasion a special “Dude dog”—guacamole, cheese, fajita mix, jalapenos, tortilla chips. (Dudamel is said to be fond of hot dogs.) Normally, classical musicians are barely on the radar screens of the bigger media outlets, but he’s such a hot commodity that he recently had to turn down numerous interview requests, including ones from Conan O’Brien and Jay Leno. His fiery performances of Shostakovich, Mahler, and Beethoven with the Simon Bolivar Youth Orchestra of Venezuela have gotten people excited the way they used to get over Bernstein. The Venezuelan orchestra has become symbol of the against-all-odds success of that country’s government-run music-education program, and Dudamel is its hero.

Of course, opera and symphonic performances are two different beasts, and the lyricism and sweetness of Puccini’s La Bohème are in pretty strong contrast to, say, Beethoven’s obsessional motivic pursuits or Mahler’s extremes of emotion. But it’s hard not to cheer for Dudamel, whose young Venezuelan musicians regularly whoop it up in an encore from Ginastera’s Estancia ballet that involves instrument-twirling, dancing, and a ferocity and joyful abandon you rarely see from a large orchestra. I’ve been enjoying listening to the Fiesta, a new Dudamel/SBYOV CD of an all-Latin American program that includes the Ginastera, as well as Revueltas’s Sensemaya and the rollicking Mambo from Bernstein’s West Side Story that also has had audiences on their feet cheering the way they do after a goal at a soccer game.

Marty Sohl/Metropolitan Opera

Composer: Giacomo Puccini

Librettists: Giuseppe Giacosa and Luigi Illica

Production: Franco Zeffirelli

Conductor: Nicola Luisotti

Performers: Angela Gheorghiu (Mimì), Ramón Vargas (Rodolfo), Ainhoa Arteta (Musetta), Ludovic Tézier (Marcello), Quinn Kelsey (Schaunard), Oren Gradus (Colline), Paul Plishka (Benoit/Alcindoro)

Synopsis:
Franco Zeffirelli’s timeless interpretation of the Puccini favorite has been delighting audiences at the Met for more than 20 years. GREAT PERFORMANCES at the Met is there when yet another magnificent cast takes to the stage in this enduring classic. Exciting young conductor Nicola Luisotti presides over a glorious vocal ensemble led by Angela Gheorghiu, who sings Mimì at the Met for the first time in twelve years, opposite tenor Ramón Vargas as her lover, Rodolfo.

Opera synopsis courtesy of the Metropolitan Opera.

Funding for GREAT PERFORMANCES AT THE MET: “La Bohème” has been provided by Toll Brothers, the Irene Diamond Fund, the Sybil B. Harrington Endowment Fund, M. Beverly and Robert G. Bartner, the National Endowment for the Arts, the Corporation for Public Broadcasting, and PBS.

Related Web Sites

• Nicola Luisotti, Conductor
• Angela Gheorghiu, Soprano
• Ramón Vargas, Tenor
• Ainhoa Arteta, Soprano
• Quinn Kelsey, Baritone
• Paul Plishka, Bass

Producer: Anu Krishnan
Designer: Lenny Drozner
Graphic Art: Ying Zhou-Hudson, Emily Nonouchi
Technical Director: Brian Lee
Production Assistant: Diana Cofresí-Terrero
Copy Editor: Leslie Kriesel
HTML Implementation: Brian Santalone

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GREAT PERFORMANCES AT THE MET: “La Bohème”

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