At first glance, it is difficult to see why this production was filmed. Sky Arts bills it as John Copley's 2009 production of La Boheme but it is quite clearly a revival of his production which, incredibly, dates from the 1970s. I remember seeing the previous film of this production which was made in 1982 and starred Ileana Cotrubas. In fact, I think it is the first filmed opera that I ever saw and it is largely responsible for turning me on to the entire genre. It is not even as if the production is being revived as a star vehicle. Hibla Gerzmava may be hot in Abkhazia and Teodor Ilincai may be big in Romania but they are hardly household names.
However, having seen it, I am glad that it was filmed because it really is very good. John Copley effectively choreographs all the intricate bits of stage business that are so important to this opera. The ensemble scenes are particularly effective, foreshadowing Puccini's marshalling of much larger ensembles in La Fanciulla and Gianni Schicchi. Puccini's ideas here are quite groundbreaking, for instance when Mimi sings over Musetta's big number or where the big Act III love duet is interrupted by Marcello and Musetta arguing. Gerzmava and Ilincai are more than adequate as Mimi and Rodolfo. Gerzmava has a sweet, smallish voice which is not particularly a disadvantage in a filmed production. Ilincai lacks a bit of gravitas but he is most effective in that Act III duet "Addio, senza rancor. Best of the rest is Gabriele Viviani's endearing Marcello.
Although I have seen a dozen other Bohemes since seeing that 1982 version of this production, I thoroughly enjoyed this film and thought it was two hours well spent. Anyone watching La Boheme for the first time would be well served by this production.
However, having seen it, I am glad that it was filmed because it really is very good. John Copley effectively choreographs all the intricate bits of stage business that are so important to this opera. The ensemble scenes are particularly effective, foreshadowing Puccini's marshalling of much larger ensembles in La Fanciulla and Gianni Schicchi. Puccini's ideas here are quite groundbreaking, for instance when Mimi sings over Musetta's big number or where the big Act III love duet is interrupted by Marcello and Musetta arguing. Gerzmava and Ilincai are more than adequate as Mimi and Rodolfo. Gerzmava has a sweet, smallish voice which is not particularly a disadvantage in a filmed production. Ilincai lacks a bit of gravitas but he is most effective in that Act III duet "Addio, senza rancor. Best of the rest is Gabriele Viviani's endearing Marcello.
Although I have seen a dozen other Bohemes since seeing that 1982 version of this production, I thoroughly enjoyed this film and thought it was two hours well spent. Anyone watching La Boheme for the first time would be well served by this production.