Opera Reviews
28 March 2024
Untitled Document

Piotr Beczala and Anita Hartig make a perfect pair of lovers



by Moore Parker
Puccini: La bohème
Vienna State Opera
7 December 2012

Photo: Wiener Staatsoper / Michael PöhnIt's indeed notable that after 395 performances Zeffirelli's Cafe Momus still draws a round of applause from the house - just a year ahead of this Bohème's 50th anniversary! Still, after so many years this old warhorse serves the composer well with its imposing combination of grandeur, humour and pathos.

The cast in this revival holds up too against its many illustrious predecessors, who date back to the original line-up with Freni, Gianni, Raimondi and Karajan (fortunately filmed for posterity) - above all, in the hands (and throat) of Piotr Beczala who, after an unfortunate production in Salzburg, found true form on this occasion singing mellifluously throughout and deftly filling the shoes of the young romantic poet. His voice now has the ideal weight for the role, wonderfully lyrical yet blossoming effortlessly to the extreme heights.

Anita Hartig brings a limpid, unaffected sweetness to Mimi - her voice responding with ease in all her scenes. Both her first and third act arias were immaculately constructed, and her "farewell" subtly understated - and as such, all the more affecting. The tone fills out nicely above the stave with a well centred vibrato, and her musicality combined with beautifully open and clear diction make for true effect, not far removed from such glorious interpreters as Cotrubas and Freni.

Valentina Nafornita's Musetta has an unaccustomed classiness - both in deportment and vocal quality. There's nothing shrill or vampish in this character - she's quite the lady, and takes the score totally in her stride - including the top C's, where a decrescendo is a simple matter of course.

Bringing his customary intelligence and musicality, Adrian Eröd is a appealing and sympathetic Marcello - if however lacking the ideal vocal credentials for the part. The tone simply requires more "meat" in some parts of the score in order to swim alongside the other protagonists.

Alessio Arduini's Schaunard is generous in tone and virile in presence - and one with a future Marcello undoubtedly up his sleeve.

Dan Paul Dumitrescu was a solid but rather mature looking Colline who, with his shock of grey-white hair and generous proportions, appeared somewhat foreign in the quartet of Bohemians.

Alfred Sramek, delightful as always, repeated his cameo Benôit and Alcindoro. Alone his perusal of the menu before placing his order at Cafe Momus is a treat.

Strong and accurate contributions from the chorus, with the orchestra generally rather boisterous and a shade heavy-handed at times under the baton of Franz Welser-Möst.

Text © Moore Parker
Photo © Wiener Staatsoper / Michael Pöhn
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