AUSTIN COMMUNITY COLLEGE
TCP-3 PUCCINI’S “LA BOHEME”
J. Lauer – 1302 – 207 # 13622
PHILIP ROBINSON
11/07/2012

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There have been many popular styles when it comes to the artistic world. These artful expressions of faith, emotion, instruction, and the unknown stem from real life and the imagination. It has been said by so many that art imitates life, and what better way to express that then to parallel it. Fiero says, “In Italian opera of the late nineteenth century, a movement called verismo (literally, “truth-ism,” but more generally “Realism”) paralleled the Realist style in literature and art.”(fiero) The reason that Puccini’s “La Boheme” needs to be preserved is that it is a perfect example of verismo.<!--more-->

The first performance of La Bohème took was shown in Turin, February 1896, at the Teatro Regio, and conducted by Arturo Toscanini. Based on the novel “Scènes de la vie de Bohème,” by Henri Murger, and libretto by Luigi Illica and Giuseppe Giacosa;(Bogart) this four act opera by Giacomo Puccini artfully introduces us to a group of “bohemians” in the Latin Quarter of Paris, and the tragic love story that ensues.(Fiero) Giacomo Antonio Domenico Michele Secondo Maria Puccini was born in Lucca, Grand Duchy of Tuscany, 22 Dec. 1858 and died in Brussels, Belgium, 29 Nov. 1924.(Opera Glass) For those that do not know, the life of an artist is full of times when they barely scrape by or worse, piqued only on occasion by steady work. Such is the scene when this beautifully tragic opera begins. It is Christmas eve in 1830 and two of our artful principles are huddled by the fireplace doing their best to stay warm. They are so desperate for some respite that they burn precious pieces of paper the poet owns. The powers that be smile down and two friends arrive with good news that one of them is employed and bearing food, warmth, and drink. The poet’s friends are off to celebrate, and just before joining them a neighbor arrives. Chemistry sparks between the neighbor and poet. What follows is the tale of love, jealousy, betrayal, and loss, and death between two couples and their friends.

Realism was an exactly opposite method of expression from romanticism. Rather than focusing on vague concepts inspired by imagination, realism focused on the beauty of truth and that beauty exists in itself rather than solely in the eye of the beholder. Due to the strong and understandable themes demonstrated in real life circumstances, this particular opera has the ability to touch the soul of anyone; realist or romantic. Thus the overwhelming response to this opera has remained strong and has only heightened from its original release to the current view. Love and loss are simply themes that will stand any test, and touches everyone in some way no matter the current state of affairs between them and those they love. La Bohème has become one of the most frequently performed operas worldwide, second only to Verdi’s La Traviata.(Bogart) The Manchester Guardian informs us that the first english performance occurred at the United Kingdom premiere April 1897, supervised by Puccini himself at the Royal Theatre.(Taylor) According to IMDB, there are two theatrical performances of this opera. The first performance is from 1926 as a silent film; the second is a 2008 performance. This performance can be seen on youtube here http://www.youtube.com/watch?v=wrCwl4SYVCM . Though there have been many recordings of La Boheme by various talents including Luciano Pavarotti, there is only one recorded original performance in 1946 by Toscanini. Recorded with NBC Symphony Orchestra, it was later released on various media. All of this points to current and maintained relevance over time. For those like myself that are not fluent in Italian, I would suggest a translated libretto.

This work is similar to other popular works of the time, and oddly enough by the same composer. Puccini’s Madam Butterfly also has strong elements of love, loss, betrayal, and death. It has been argued that temporary wives do not love, I can see the stoicism in not showing someone that has treated you poorly any emotion, however, I doubt the hearts ability to block it out completely. There is enough love to bear a child and to begin raising this child. Then the despair and betrayal emerges once again when the abandoning “father” returns. So distraught by the loss of her child breaking her heart and perhaps her feelings for the soldier, she takes her life. These themes are seen through slightly different lenses, but the truth in reality shines through.

My impression of the work ties directly into all of the reasons that I appreciate this work. The musical score compliments the vocal performance without drowning the voices. The tale is well told for anyone that has truly ever been in love. The journey through all of the emotions was amazing, as well as being invested in the characters. That all encompassing awe and attraction on every level that lets you breath, while at the same time not being obsessive, stalker like, or dependent. Puccini has demonstrated exceptional ability in storytelling, and seems to be well aware of the indescribable highs and the depths of despair and grief that come with loving relationships. While I can and do appreciate romantic pieces of art, I also find that truth and beauty remain truthful and beautiful regardless of another person’s presence. I also find that along with being an exceptional experience; this opera can be and probably is an introduction to opera for the uninitiated. This piece belongs in the capsule because it is of utmost importance that future generations understand the beauty in truth and the truth in beauty, and that art imitates life in the realist tradition in the truest sense.

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<p style="text-align: left;"><a href="http://opera.stanford.edu/Puccini/LaBoheme/history.html">http://opera.stanford.edu/Puccini/LaBoheme/history.html</a></p>
First performance: 1 February 1896, Teatro Regio, Turin
Cast:
• Mimì: Cesira Ferrani (also created title role in Manon Lescaut)
• Musetta: Camilla Pasini
• Rodolfo: Evan Gorga
• Marcello: Tieste Wilmant
• Schaunard: Antonio Pini-Corsi (also created role of Happy in La fanciulla del West)
• Colline: Michele Mazzara
• Benoît: Alessandro Polonini (also created role of Geronte di Ravoir in Manon Lescaut)
• Alcindoro: Alessandro Polonini
• Parpignol: Dante Zucchi
• A Sergeant: Felice Foglia
<strong>Works Cited:</strong>

Bogart, Rick. "Puccini ." Opera Glass. Stanford University. Web. 10 Nov 2012.<a href="http://opera.stanford.edu/Puccini/main.html">http://opera.stanford.edu/Puccini/main.html</a> -- Puccini main page

Bogart, Rick. "Puccini ." Opera Glass. Stanford University. Web. 10 Nov 2012. <a href="http://opera.stanford.edu/Puccini/LaBoheme/main.html">http://opera.stanford.edu/Puccini/LaBoheme/main.html</a> -- Opera page for <em>La Boheme</em> Direct quote first performance cast

Fiero, Gloria K. The Humanistic Tradition. Vol 2. Books 3-6. 6th ed. New York: McGraw-Hill, 2011. eBook. McGraw-Hill’s Connect. 2011. Web. Fall 2012. – Paraphrased from ch.30

"Statistics." <em>Opera Base</em>. N.p., 07 2012. Web. 10 Nov 2012. <a href="//operabase.com/index.cgi?lang=en&gt;">&lt;http://operabase.com/index.cgi?lang=en&gt;</a>.

-- Database for opera statistics

Taylor, John Edwards. "Manchester Guardian." The Guardian. Guardian News and Media, 23 1897. Pg.6. Web. 7 Nov 2012. -- Periodical link from wikipedia

<a href="http://www.youtube.com/watch?v=wrCwl4SYVCM">http://www.youtube.com/watch?v=wrCwl4SYVCM</a> – 2008 performance