AUDIENCE GUIDE November 2-5, 2017 Sponsored by Stanley Kritzik BIENVENUE À LA BOHÈME! W e h o p e t h i s g u i d e e n h a n c e s y o u r j o u r n e y t h r o u g h t h e s t r e e t s o f 1 9 5 0 s P a r i s w i t h t h e w o r l d ' s f a v o r i t e B o h e m i a n s : R o d o l f o , M i m i , M a r c e l l o , M u s e t t a , C o l l i n e , a n d S c h a u n a r d .

B e s w e p t a w a y b y t h e g o r g e o u s m u s i c a n d b e a u t i f u l d a n c i n g – i t m i g h t b e a d i f f e r e n t t i m e a n d p l a c e , b u t t h e l i f e o f a

D B o h e m i a n w i l l a l w a y s b e f u l l a v i t

H o f p a s s i o n a n d p a i n , l i f e a n d o v h d e a t h , l o v e a n d l o s s … a n n i s y a n a L a B o h è m e n d

Exclusive inte L b y G i a c o m o P u c c i n i u z

S

a W o r l d P r e m i e r e , F e b 1 , 1 8 9 6 n

M T u r i n , I t a l y i g u e l .

P h o t o Manila

T o m

D a v e n p o r t

The 2017-18 Season is presented by Donna and Donald Baumgartner LA BOHÈME, A LA MICHAEL PINK a n h o r F

k r a M

o t o h P

. y n a p m o C

t e l l a B

e e k u a w l i M

Artistic Director Michael Pink turned a few heads when The challenge was adapting Puccini's opera he announced he would present a ballet version of score for dance. The famous arias and duets Puccini's iconic opera, La Bohème. The music and would need to become stirring solos and pas de libretto are so well-known. Will the story still connect with deuxs. While Pink acknowledged many are the audience if you take out the voices? Pink answered accustomed to hearing voices over the score, with a resounding "yes", premiering La Bohème on the he could remove them and retain all of the Milwaukee Ballet stage in 2012. emotions in the performance. In fact, it could be an advantage. La Bohème was the first opera Artistic Director Michael Pink experienced as a young man, and he was instantly The skill, notes Pink, was to arrange the music attracted to the characters and their passion for life and in a way that replaces the vocals without losing the arts, and, of course, to Puccini's intoxicating music. the emotional impact of the voice. It was years later, on a family holiday in Paris, that Pink began to envision La Bohème as a ballet. He called on his music director, Andrews Sill, to create an arrangement for Milwaukee Ballet "It had all the necessary elements for a dance drama – Orchestra that would leave the audience lush music, real life characters and, at its heart, fulfilled. A few of the tempos would also need to a haunting story of love, envy, and loss,” said Pink. be quicker to match the rhythms dancers are accustomed to. The story, he felt, was one the dancers could really consume. He explains, "La Bohème is about young Sill and the Orchestra earned praise for their people, young artists. It just translates so well on our new interpretation of Puccini's score. The dancers who are themselves bohemian in spirit, youthful, Shepherd Express wrote, and carefree." "Sill fashioned a sublime score from Pink also became intrigued by the idea of using a small Puccini's opera, adapting as necessary cast. "Many times with major productions," he said, "the and also expanding it ...the performance scenes are filled with set pieces and corps dancers. of the Milwaukee Ballet Orchestra under Having fewer dancers in the studio allows me to delve into the story of Mimi and Rodolfo, and their friends in Still's baton was sensational." Paris." C O N T I N U E D O N N E X T P A G E Sill also added new music for a scene Pink desired to include in the ballet.

Pink noted, "I had always thought there was a part of the story that was not fully explained. Mimi and Rodolfo have fallen madly in love in the first two acts of the opera, but by act three, they are estranged."

"Rodolfo talks about Mimi encouraging the attentions of other men, driving him wild with jealousy. I felt that showing this in the ballet adaptation it would clarify the story for the audience," he explained.

"Apparently in the original libretto, there was a fifth act that showed Musetta introducing Mimi to a Viscount, explaining to her that she could be in love with Rodolfo but, she needed someone to pay the bills." Davit Hovhannisyan and Luz San Miguel "Puccini chose not to incorporate this into the finished piece, but I thought it was valuable. Andrews Sill and I worked with two pieces of incidental music by Puccini to create this scene in Musetta's apartment."

Pink made another strong artistic choice by transporting the story to the 1950s. Moving the action closer to the present, he hoped, would help the audience engage with the characters and their story in a brand new way.

The updated era gave costume designer Paul Daigle an exciting new creation palette. He used striking colors to create the costumes for La Bohème. There are about 55 pieces in the show. Half were handmade in our costume shop, and the other half were vintage purchases from local antique stores.

In its review, Milwaukee Journal Sentinel noted: "Daigle's costumes are masterpieces of

Davit Hovhannisyan and Timothy O'Donnell period and style and inviting color. Particularly effective are the women's skirts, which use drape and flow of fabric to underscore both character and movement."

Pink completed his creative team with scenic designer Richard Graham, who created the imaginative set of Peter Pan, and Emmy Award-winning lighting designer David Grill, who has illuminated nearly all of Pink's ballets in Milwaukee.

Michael Pink's La Bohème was loved by critics, audiences, and the dancers alike. Pink jumped at the chance to present it again to open our 2017-18 season.

"I’m grateful for the opportunity to revisit this beautiful score and delve further into the characters with the Company,” he said.

Pink's La Bohème is dedicated to his wife, Jayne. Annia Hidalgo. Photos: Mark Frohna bohemmeet ithaens Rodolfo Mimi

Davit Hovhannisyan Patrick Howell Luz San Miguel Nicole Teague-Howell Thurs & Sat Fri & Sun Thurs & Sat Fri & Sun

Marcello Musetta

Timothy O'Donnell Isaac Sharratt Annia Hidalgo Marize Fumero Thurs & Sat Fri & Sun Thurs & Sat Fri & Sun

Schaunard Colline

Parker Brasser-Vos Randy Crespo Garrett Glassman Barry Molina Thurs & Sat Fri & Sun Thurs & Sat Fri & Sun

Headshots by Timothy O'Donnell Synopsis Act One 1950s Paris. Christmas Eve in the Latin Quarter. Marcello, a painter, and Rodolfo, a poet, keep warm by burning pages from Rodolfo’s latest novel. They are joined by comrades Colline, a philosopher, and Schaunard, a musician. Schaunard has recently landed a job and brings food, fuel, and money for all to enjoy. While they celebrate, Benoit, the landlord, arrives to collect rent. They ply him with wine before embarrassing him and throwing him out. The friends prepare to depart for Café Momus, but Rodolfo must first finish writing an article. A knock at the door reveals Mimi, a neighbor, asking for a light for her candle. She becomes faint so he offers her wine. Mimi realizes she has dropped her key, and together, they search for it. Rodolfo finds it, but hides it to prolong his beautiful guest’s visit. He finally gives Mimi the key and feels how cold her delicate, little hand is. The attraction is palpable. The two leave to join Rodolfo’s friends at the Café. Act Two

Café Momus The street is filled with Christmas spirit. A dancer from the Moulin Rouge excites the crowd and whimsical toy seller Parpignol gives presents to the children. Marcello’s former lover, Musetta, arrives with her wealthy benefactor, Alcindoro, in tow. Trying to regain Marcello’s attention, she asks the accordion player to accompany her as she flirts with the men. Alcindoro asks her for a kiss, but she insists she will only concede under the mistletoe; As he leaves in search of the mistletoe, Musetta and Marcello are free to embrace once more. The sound of street musicians draws the café patrons outside, and Alcindoro returns to find an expensive bill. He leaves dejected.

Musetta’s Apartment Mimi enters wearing one of Musetta’s borrowed gowns. Musetta knowingly introduces Mimi to a wealthy aristocrat. Consumed with jealousy, Rodolfo storms out from the party. Act Three Outside a bar, where Marcello and Musetta now live and work. Mimi struggles to tell Marcello she is leaving town, as she cannot live with Rodolfo’s incessant jealousy. They hear Rodolfo coming and Mimi hides. He tells Marcello he wants to part from Mimi, Marcello doubts his sincerity, Rodolfo breaks down; revealing she is dying and he can do nothing about. It can only worsen in the poverty they share. Rodolfo discovers Mimi, realizing she has heard every word, he begs her forgiveness. Meanwhile Marcello and Musetta quarrel. They part in anger Mimi and Rodolfo decide to stay together until spring.

Several months later Rodolfo and Marcello lament their loneliness and lack of inspiration as Colline and Schaunard bring meager offerings of food. The four amuse themselves with play-acting when Musetta bursts into the room saying Mimi is outside, too weak to climb the stairs. As Rodolfo returns with her, Musetta tells Marcello that Mimi begged her to bring her to her lover’s arms to die.Musetta wants to sell her jewels to buy medicine. Colline offers to sell his ‘life long companion’, his coat. They all leave Mimi and Rodolfo alone to recount their first meeting. Musetta returns with her muff to keep Mimi’s hands warm, Mimi slips away peacefully Giacomo Puccini an Italian Bohemian

Giacomo Puccini was born on December 22, 1858, in Lucca, Italy. He came from a long line of musicians dating back to the early 18th century. At age 14, he had jobs at two churches playing the organ, but he quickly realized that opera, not church music, was his passion. Puccini studied at the musical conservatory in Milan from 1880 to 1883. During his time there, he met a group of artists called “The Scapigliati.” Defined "disheveled" or "unkempt", the Scapigliati were the Italian equivalent of the French Bohemians. Puccini's time with them helped him create the world and characters of La Bohème.

Puccini wrote a total of 12 operas in his lifetime. His first opera, Manon Lescaut, made a splash in the world of Italian opera. His most famous works, La Bohème, Tosca, and Madame Butterfly, were written consecutively.

Puccini once said that his success came from putting "great sorrows in little souls." His operas paint pictures of people in all walks of life, enduring the same trials: love and envy, loss and heartbreak. Puccini wanted to shine a light on the “small people,” as he called them.

Puccini employed musical motifs that represent characters, themes, and moods so that the music underscored and highlighted aspects of the drama. In the case of Mimi and Rodolfo, the closing musical phrases mimic earlier scenes, bringing the opera full circle and revealing the memories recurring in their as they say farewell.

Puccini, like many writers and artists, used real life experiences in his creations. Once, when he was short on money, he pawned his coat so that he could take a ballerina on a date. In La Bohème, you will see Colline do the same thing to afford medicine for Mimi.

A Puccini opera is not known for its happy ending. He had a fixation for killing off his main characters. This is especially true of the women; at least one of the female characters ends up dying in eight out of his 12 operas.

Giacomo Puccini was a heavy smoker, which eventually caused his demise. He died of a heart attack in Brussels on November 29, 1924, following surgery for throat cancer. Bohemian Rhapsody Fun Facts

n o u n , a p e r s o n w i t h u n c o n v e n t i o n a l s o c i a l h a b i t s , e s p e c i a l l y B o · h e · m i · a n o n e i n v o l v e d i n t h e a r t s . U s u a l l y i n a c o l o n y w i t h o t h e r s . b ō ˈ h ē m ē ə n s y n o n y m s , f r e e s p i r i t , g y p s y , v a g a b o n d , w a n d e r e r B e f o r e t h e w o r d b e c a m e a s y n o n y m f o r a r t i s t , B o h e m i a n r e f e r r e d t o a n a t i v e o r i n h a b i t a n t o f B o h e m i a , w h i c h w a s o n c e a k i n g d o m i n t h e w e s t e r n r e g i o n o f t h e C z e c h R e p u b l i c . B o h e m i a n w a s a l s o u s e d t o i d e n t i f y t h e i r l a n g u a g e b e f o r e " C z e c h " b e c a m e p r e v a l e n t i n t h e e a r l y 2 0 t h C e n t u r y .

La Bohème was loosely based on Henri Murger’s novel "Scenes de la Vie de Boheme." The opera is actually more like Murger’s play “La Vie de Bohème.” However, the play had so many copyright restrictions, Puccini claimed his opera was based on Murger’s novel, not his play.

Maestro Leoncavallo, Puccini's friend and fellow composer, was working on a libretto entitled La Bohème. He asked Puccini to take a glance and consider a collaboration. Puccini took a look, but told Leoncavallo he had no interest.

A few months later, Puccini revealed he was Not all of the critics working on his own version. Furious, were impressed Leoncavallo made a public statement in the with the premiere Italian newspaper claiming that he alone had the rights to create this opera. Carlo Bersezio, a writer Puccini responded, “Let him compose, and I for Italian newspaper La Stampa will compose. The public will judge.” wrote, “[Puccini cannot be (Il Corriere della sera, March 24, 1893) forgiven for] composing his music hurriedly and with very little effort to select and polish…[The work contains] music that can delight but rarely move…” Despite the negative press, it quickly became a popular work and spread to opera companies all across Italy. La Bohème remains one of the most performed operas in the world. The others? Broadway smash RENT was inspired by La Bohème. This Tosca and Madame Butterfly, rock opera, set in the 1990s in New York City, made its both composed by Puccini. Broadway premiere in 1996, and won the Tony Award for Best Musical. A film version was released in 2005.