What does it mean to perform Puccini’s La bohème backwards? Would director Yuval Sharon’s reconceptualization of what may be the most popular of all operas, invert Puccini's notes like the Contrapunctus of a Bach fugue? Would the score be fraught with hidden messages when listened to in reverse?
Nothing so sinister occurs in Opera Philadelphia’s new production, whose controversial inversion played last year in Detroit, then Boston. Sharon has reversed the storyline, so the opera opens with the last act, offers a series of flashbacks, and ends with the duet at the conclusion of Act 1. There is more to the story, of course: the elimination of the landlord scene in the traditional first act, the inclusion of a new character, “The Wanderer” (Ring Cycle, anyone?), who offers a Singspiel-ish commentary in English throughout the production. Then there’s the condensation of the score to a mere 100 minutes and other deviations from the original sure to have Puccini purists shouting “Heresy!”
These infractions do lead us to consider both story and music from a fresh point of view. That’s not to say it always works. It doesn’t. But there is still the glorious music and some fantastic performances to enjoy along the way.
Chief among the attractions of this production is the pairing of tenor Joshua Blue as Rodolfo and soprano Kara Goodrich as Mimì. And thank goodness, since the entire production swirls around their relationship, with a side tale featuring the courtesan Musetta (Melissa Joseph, radiant and coquettish) and her suitors, most notably the artist Marcello (Troy Cook).
Blue offered an immensely satisfying performance as Rodolfo, thoroughly immersed in his role from start to finish (though it’s hard to say, in this production, where the “start” starts and the “finish” ends). In the final act, Blue’s spine-tingling “Che gelida manina”, right through to the exit duet with Mimì, made any of the compromises in this production worthwhile. Goodrich’s Mimì complemented Blue’s bright but penetrating voice with strength and dark shading. Her Mimì was often a feisty heroine, not a fading invalid, which works for this production.
While overall the reversed Bohème was largely successful in its goals, I thought the new Act 1 (death scene) was rather weak and uninspired. Despite fine singing by Blue and Goodrich, it posed a lackluster start to a highly emotional drama. However, a consistent “plus” throughout the production was Opera Philadelphia’s orchestra and chorus under the direction of Corrado Rovaris. They soared with the youthful spirit of Puccini's opera in its original form. Despite the tragic undertones, we soared with these singers, players and dancers to a place in the human imagination where sorrow takes flight and love saves the day. What could be better than that?
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