Latest news with #LaBohème
The Spinoff
2 days ago
- Entertainment
- The Spinoff
Review: La Boheme is intimate but inert
NZ Opera's production of Puccini's masterpiece looks and sounds lovely, but would it work better in a different space? Operas come with their own assumed cultural cache. Even if the general public – if such a thing exists anymore – isn't familiar with specific pieces, they at least know that certain operas exist, and that if they're still being performed they must at least be a little good. The Magic Flute, The Barber of Seville, and a few other Mozarts have this level of recognition. Puccini's La Bohème – the story of doomed bohemians in love – is another one of these. La Bohème is part of the standard opera repertoire, this most recent production being the fourth time that NZ Opera have performed it since the turn of the millennium, and it is regarded as one of the best operas of all time. You might also be familiar with it as the basis for the musical Rent, but La Bohème remains a far more interesting take on the source material, as it is loosely adapted from Henri Murger's Scenes de la vie de Bohème, which nobody reading this has read. (By the way, calling La Bohème a more interesting version of Rent is a surefire way to piss off fans of both shows.) Director Brad Cohen's new take on the show relocates it to Paris in 1947 – one of those oddly specific directorial setting choices that seems trendy in this artform – but otherwise feels fairly safe. For opera, it is a remarkably small scale story. Men hang out, men fall in love, woman gets sick, woman gets sicker, people get sadder. While there are a few moments where the stage is flooded by the ensemble, for the most part we remain with our core cast. Some of the singing seems oddly underpowered, sometimes lost under the orchestra. The men in the cast suffer the most here, stuck in the uncanny valley between mimicking the physicality of dudes hanging out with each other with the need to play out to the massive venue. As the doomed Mimi, Elena Perroni fares better, helped along by a gorgeous blue dress that seems to absorb the light, and a florid physicality that immediately defines the character. However, it's Emma Pearson as Musetta, easily the most fun character in the show, who stands out. She plays all the colours of the character, her darkness and her frippery, in a way that fills the stage rather than occupies it, but she also finds intimate moments that really stick out. There is one simple gesture toward the end of the show, a flick of a hand, that was so small and so specifically human, but still stood out in the massive space. 'Why do we go to the opera?' is a question I find myself asking when I see any opera, which is perhaps an unfair thing to ask of any one show. I don't watch an episode of Severance or say, even Family Guy, and ponder the value of TV as an artform. Opera is, however, a form that I am still very much in the process of understanding, and by proxy, truly appreciating. What I love about it is the spectacle, the fact that you can see every dollar onstage, and see what happens when art is supported to achieve that spectacle. Opera is a big artform, it involves human beings going large to achieve human truths even larger. La Bohème, or at least this production of it, is not what I go to the opera for. There is an intimacy to it that is lost in the Kiri Te Kanawa, and while the set strikes an initial gorgeous image – like the memory of a Parisian apartment in 1947 dropped in a sack onto the stage, complete with a sunlight hanging over them – the effect is lessened. Similarly, the moments of snow falling from the sky is also initially impressive, even moving, but becomes less effective on repetition. The tension of this intimacy is felt by the entire production (and perhaps this is the fault of the libretto). The moments where the ensemble come onstage feel obligatory rather than organic, and Chris McRae's delightful clown Parpignol, who entertains some children, is as much a jarring intrusion as his inclusion in the second to last paragraph of this review. I wondered what La Bohème might feel like in a more intimate space, whether a theatre like the ASB Waterfront or even Q's Rangatira could capture the small moments at the heart of this show. The show feels unfortunately inert, stuck on this massive stage rather than reaching out to grab us in the stalls. As a result, I felt similarly unmoved. I appreciate the beauty, the music, and what spectacle there is, but it sits at such a distance from me that it might as well be a sculpture. As with all opera, the human truths are there, but I wish I didn't have to squint to see them.
RNZ News
3 days ago
- Entertainment
- RNZ News
Samoan opera star returns home for enduring classic La Bohème
This audio is not downloadable due to copyright restrictions. 130 years on, Puccini's La Bohème remains an enduring classic and beloved opera. At the heart it's a simple story of four friends and their lovers; passionate artists and thinkers whose daily struggles compound and their hardships become tragedies. New Zealand-Samoan baritone Benson Wilson has returned home to appear on stage as Schaunard; one of the quartet of friends. Now based in London, Benson has been firmly establishing himself as a promising baritone in the opera world. He studied at the Guildhall School of Music and Drama and won the prestigious Kathleen Ferrier Award before relocating over there. In 2016, he's won the Lexus Song Quest and more recently - the Dame Malvina Major Foundation Mina Foley Award. He's performed with the London Symphony Orchestra, the BBC Symphony Orchestra and has studied and performed multiple languages including Russian and German. It's not his first time in this role; he made his professional debut at Festival Opera in 2016, playing Schaunard. He speaks to Culture 101 about returning home to play a familiar character with NZ Opera. La Bohème is at Kiri Te Kanawa Theatre until the 6th of June before performances in Wellington and Christchurch.
Miami Herald
5 days ago
- Entertainment
- Miami Herald
Florida Chamber Orchestra spotlights opera's next generation
The Florida Chamber Orchestra, led by conductor Marlene Urbay, is giving audiences a glimpse into the future of opera with up-and-comers from South Florida. The nave at St. Dominic Catholic Parish in Miami will resonate with their powerful voices in 'Echoes of Tomorrow' at 8 p.m. on Sunday. Part of the Miami-Dade County Auditorium's 'Away From Home' series—an initiative bringing the arts to unexpected venues during the auditorium's renovation—'Echoes of Tomorrow' will feature vocalists from the studio of tenor and vocal coach Manny Pérez. The performers—Josue Brizuela, Claudia Céspedes, Ana Collado, Mayara García, London Gutiérrez, Dalila Lugo, Silvio Plata, and Isaac Rodríguez—represent a wide spectrum of backgrounds, stories, and ambitions. They'll be performing selections from 'Rigoletto,' 'La Bohème,' 'Così fan tutte,' 'María La O,' 'L'elisir d'amore,' and 'Cecilia Valdés.' Plata, a 21-year-old tenor born in Nicaragua and raised in Miami, this performance is deeply personal. 'Classical music became my greatest passion,' he says. 'It started as a hobby, but everything changed when I was offered a full scholarship to the University of Miami. I felt like life was giving me a sign.' The young singer who lost his sight as a child due to retinal cancer, feels music as a lifeline and a new way of perceiving the world. 'I was just a year or two old when my parents had to make the decision to remove both of my eyes. We had no resources, and the community came together to help us. Music gave me a way to give something back—something that brings peace, joy, and comfort.' He describes music as a sixth sense. 'Every song, every opera tells a story. It's how I understand emotions, how I understand my surroundings. Even though I lost my vision, music gave me a new way of seeing.' Also taking the stage is a 20-year-old Cuban-American soprano currently studying at Juilliard. 'Opera wasn't something I grew up with,' Lugo admits. 'My parents are not musicians—my dad, Blas Lugo, is actually a former international chess master. Music just wasn't part of my heritage.' Still, she recalls singing constantly as a child. Her parents encouraged it, even if they didn't always understand it. 'I was humming and singing in the car all the time. When I was seven, I started voice lessons with an opera singer, and it completely changed my path.' Along with a fierce commitment to mastering her voice, her love of opera deepened through years of study with Cuban-American colatura soprano Eglise Gutiérrez, also a student of Perez's. Now a student at one of the most prestigious conservatories in the world, Lugo finds opera to be more relevant than ever. 'People think opera is old-fashioned or inaccessible, but it tells real stories about real people. It's more relatable than people realize.' She also sees her participation in 'Echoes of Tomorrow' as a way to bridge generations. 'This concert makes opera accessible. It invites people in without intimidating them. And that's how we keep this art form alive.' Her performance of Ernesto Lecuona's 'Siboney' promises to be a highlight. 'I love coming back to Miami to sing songs in Spanish. In New York, I rarely hear zarzuela or Latin American art songs. Here, it feels like home.' At the heart of it all is Urbay, whose artistic leadership has shaped the Florida Chamber Orchestra into one of the few fully professional chamber ensembles in South Florida. As the orchestra approaches its 30th anniversary in 2026, 'Echoes of Tomorrow' is also a reflection of her enduring legacy. The daughter of acclaimed Cuban conductor Jose Ramon Urbay, Marlene came to Miami in 1991 as a political refugee with a distinguished international résumé but few professional prospects. She graduated from the University of Miami in the mid-1990s, rebuilding her credentials in a new country. 'None of the doors opened for me,' she recalls. 'So I did the only thing I knew how to do: I started my own orchestra.' Now 61, Urbay has led the Florida Chamber Orchestra for nearly three decades. Made up of 30 local musicians who also perform with the Florida Grand Opera and Miami City Ballet orchestras, Palm Beach Symphony and the Naples Philharmonic, the orchestra's programming often blends classical repertoire with Latin American and Cuban music to reach wider audiences. 'One thing that makes us different,' she says, 'is that we don't only perform Beethoven—we also play Lecuona.' Her mission has always included creating space for new generations of musicians. 'I've presented talented young performers every season,' she explains. 'Whether it's a pianist at age eleven or a young singer just starting out—these are the future voices of music.' But running a professional orchestra hasn't been easy. 'They don't teach you how to be an entrepreneur in music school,' says Urbay. 'I had to learn how to raise money, how to build an audience, how to keep going even when resources were scarce. And being a Latina woman in this field? That's another challenge altogether.' Still, her resilience and vision have endured, as she explains: 'We've carved out our own identity. Our audience knows who we are. And this concert is proof that the future of opera isn't just alive—it's thriving.' If you go: WHAT: 'Echoes of Tomorrow' by the Florida Chamber Orchestra as part of the Miami-Dade County Auditorium's 'Away From Home' series. WHERE: St. Dominic Catholic Parish. 5909 NW 7th St., Miami WHEN: 8 p.m. Sunday, June 1. COST: $40, general admission, $50 VIP for first to fifth row. INFORMATION: 305-993-9855 or visit is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music and more. Don't miss a story at
The Citizen
22-05-2025
- Entertainment
- The Citizen
VIDEO: Sibongile steals the opera show
Sibongile Mthiyane is considered the latest versatile and talented artist to bless the West Rand community with her brilliant vocals. • Also read: WATCH: Feeling the rhythm with Zanele Born and raised in Tshepisong, her journey in music began at the tender age of seven, when she was introduced to classical music at Margaret Gwele Primary School. She continued to nurture her passion for music throughout her school years, participating in the South African Schools Choral Eisteddfod competitions until she completed her matric at Wiseman Cele Secondary School. Sibongile's professional career took off in 2015 when she worked with Big Wig Opera's chorus in three productions: L'elisir d'amore, La Bohème, and Madama Butterfly. She then went on to collaborate with Gauteng Opera's chorus in La Bohème. Her talent has also taken her beyond South Africa's borders, participating in an elegy by Gabrielle Goliath in Germany and performing at the Spiel Arts Festival in Sweden in 2019 alongside Khayakazi Madla and Phenyo Modiane. Some of her notable performances include a concert at the Golden Gate Highlands National Park alongside Yolanda Nyembezi and the Gauteng Opera Chorus. In 2019, she was part of the Durban Opera Potpourri as a mezzo-soprano and presented the National Choir Festival live stream alongside Bongani Drama. In addition to her classical background, Sibongile has explored other creative avenues. She released an EP titled Ungowami with Yustinez ZA in 2022, marking a new chapter in her music career as an Afro-beat artist. With a multifaceted talent portfolio, Sibongile is also a skilled makeup artist, presenter, and newsreader. Through her journey, Sibongile has demonstrated her versatility, passion and dedication to the arts, making her a rising star in various fields. At Caxton, we employ humans to generate daily fresh news, not AI intervention. Happy reading!
Observer
12-05-2025
- Entertainment
- Observer
Verdi's La Traviata, a tragedy of star-crossed lovers
Photos by Khalid al Busaidi A full house welcomed Plácido Domingo to the Royal Opera House Muscat, where Giuseppe Verdi's 'La Traviata' was performed for the third time. Following successful productions in 2018 and 2022, this staging was presented by the Orchestra and Chorus of Teatro Carlo Felice di Genova, offering a vibrant interpretation of Verdi's 1853 opera. Based on Alexandre Dumas' novel 'La Dame aux Camélias', the opera explores deep themes of love, morality, sacrifice, and societal judgement. Set in 19th-century Paris, it depicts the tragic life of Violetta, a courtesan suffering from tuberculosis — a deadly, contagious disease that echoes Mimi's fate in Puccini's 'La Bohème'. At its core, the story examines love's resilience amidst social pressure and the personal cost of sacrifice. Verdi's La Traviata, a tragedy of star-crossed lovers The performance began with a stirring Overture, conducted by Maestro Domingo, highlighting memorable string melodies. The curtain rose on an ornate garden scene designed by Giovanni Agostinucci, set in 1847. Violetta, the Parisian socialite, dazzled in a white gown adorned with jewellery as she hosted a lively party. The chorus of fifty singers and the 75-piece orchestra created a rich, vivid atmosphere — resembling a grand ball filled with vitality and sophistication. Violetta's character demands significant dramatic range, from flirtatiousness to poignant tragedy. Armenian soprano Juliana Grigoryan portrayed her masterfully, capturing both vocal finesse and emotional depth. Opposite her was Azerbaijani tenor Yusif Eyvazov as Alfredo. Their chemistry was palpable, especially during 'Un dì, felice, eterea', where Eyvazov's warm tone and lyrical delivery conveyed Alfredo's love passionately. His spectacular unaccompanied cadenza at the end of the duet left the audience enthralled. Verdi's La Traviata, a tragedy of star-crossed lovers Violetta's 'Sempre Libera' showcased Grigoryan's impressive upper register and her ability to convey inner conflict. Her soaring colouratura and repeated high Cs marked a powerful moment, as her character dreams of freedom yet remains committed to love. Act 2 opens in Violetta's country estate, with plush Louis IV decor. Alfredo's father, Germont — a moving presence played convincingly by Caner Akgün — enters to persuade Violetta to abandon Alfredo, claiming her corruption damages their family's honour. Akgün's emotional performance of 'Pura siccome un angelo' was particularly compelling. Marta Ornelas's understated direction heightened the intimacy of the scene. Violetta pours her heart out about her love and impending death from tuberculosis. The act concludes with a striking a cappella coda, as she and Germont draw closer without touching, conveying complex emotion. Later, Violetta writes a farewell letter and calls Alfredo 'Amami', pleading for love before rushing off stage. Germont then persuades Alfredo to return home via 'Di Provenza il mar, il suol', performed with paternal tenderness by Akgün. Verdi's La Traviata, a tragedy of star-crossed lovers Scene 2 at Flora's salon is a dazzling highlight, bathed in red tones. Gypsy dancers from Antonio Gades' company perform a captivating dance, miming a bullfight with flamenco flair. Violetta arrives in a black sparkly dress and joins a card game with Alfredo — who wins repeatedly — and Baron Douphol, sung with charisma by Omar Kamata. Tensions rise when Alfredo insults Violetta; Germont intervenes to rebuke Alfredo, stressing the importance of honour. The climax occurs in Act 3, set in Violetta's sombre green bedroom where she lies dying. Dr Grenvil (Dario Russo) offers grave comfort, while Violetta reads a farewell letter from Germont. Her haunting rendition of 'Addio del Passato' is a poignant farewell. Alfredo arrives, and they sing 'Parigi o cara', dreaming of future happiness. The act ends with a quintet, culminating in Violetta's death accompanied by a mysterious violin theme from the first act, leaving the audience moved. The curtain call featured soloists and Domingo himself, who performed a ten-minute encore. Rumour has it he will return to Royal Opera House Muscat with the International Operalia Festival in 2027 — an event worth waiting for.
