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Chan 3008(2) CHANDOS O PERA IN P u c c i n i ENGLISH La bohème

David Parry

PETE MOOES FOUNDATION CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 2

Giacomo Puccini (1858–1924) La bohème (A Bohemian Life)

Opera in four acts by Giuseppe Giacosa and Luigi Illica after Henry Murger’s Scènes de la vie de bohème

AKG English version by William Grist and Percy Pinkerton, with amendments by David Parry

Marcello, a painter...... Alan Opie Rodolfo, a poet ...... Dennis O’Neill Colline, a philosopher ...... Alastair Miles Schaunard, a musician ...... William Dazeley baritone Benoit, the landlord ...... Andrew Shore baritone Mimì ...... Cynthia Haymon Parpignol, a toy-seller ...... Mark Milhofer tenor Musetta ...... Marie McLaughlin soprano Alcindoro, a state councillor ...... Andrew Shore A Hawker ...... Peter Hall tenor Customs Official ...... Simon Preece baritone Customs Sergeant ...... Paul Parfitt bass-baritone

Giacomo Puccini Geoffrey Mitchell Choir The Peter Kay Children’s Choir Philharmonia Orchestra Brad Cohen assistant conductor David Parry conductor

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COMPACT DISC ONE 13 Rodolfo – ‘What is it?’ 3:18 [p. 71] Act I 35:26 [p. 54] (Rodolfo, Mimì, Colline, Schaunard, Marcello, Chorus) 14 1 Marcello – ‘This Red Sea Passage feels deep and chill to me’ 4:21 [p. 54] Children – ‘Long live Parpignol!’ 3:12 [p. 73] (Marcello, Rodolfo, Colline) (Chorus, Schaunard, Marcello, Colline, Rodolfo, Mimì, 2 Colline – ‘Profound and thoughtful!’ 1:21 [p. 56] Alcindoro, Musetta) (Colline, Marcello, Rodolfo) 15 Marcello – ‘You had better ask me’ 2:40 [p. 75] 3 Rodolfo – ‘Firewood!’ 3:48 [p. 57] (Marcello, Musetta, Alcindoro, Colline, Schaunard, Chorus, (Rodolfo, Marcello, Colline, Schaunard) Rodolfo, Mimì) 16 4 Benoit – ‘Hello’ 5:33 [p. 59] Musetta – ‘As thro’ the street I wander’ 5:04 [p. 76] (Benoit, Marcello, Schaunard, Colline, Rodolfo) (Musetta, Marcello, Alcindoro, Mimì, Rodolfo, Colline, 5 Rodolfo – ‘I’ll stay here, I must complete my article’ 1:00 [p. 63] Schaunard) (Rodolfo, Marcello, Colline, Schaunard) 17 Colline – ‘Who had him bring it?’ 2:17 [p. 79] 6 Rodolfo – ‘No inspiration’ 2:44 [p. 63] (Colline, Schaunard, Rodolfo, Marcello, Chorus, Musetta, Mimì,) (Rodolfo, Mimì) TT 54:57 [p. 57] 7 Mimì – ‘Oh! How dreadful!’ 1:40 [p. 65] (Mimì, Rodolfo) COMPACT DISC TWO

8 Rodolfo – ‘Your tiny hand is frozen!’ 4:40 [p. 66] Act III 26:11 [p. 57] (Rodolfo) 1 Scavengers – ‘Hallo! You soldiers! Admit us!’ 3:41 [p. 81] 9 Mimì – ‘Yes, I’m always called Mimì’ 5:17 [p. 66] (Chorus, Customs Official, Musetta) (Mimì, Rodolfo) 2 Mimì – ‘Oh, please sir, tell me, do you know the tavern’ 1:46 [p. 82] 10 Schaunard – ‘Hey! Rodolfo!’ 0:48 [p. 67] (Mimì, Customs Sergeant, Customs Official) (Schaunard, Colline, Marcello, Rodolfo, Mimì) 3 Marcello – ‘Mimì!’ – Mimì – ‘I hoped that I would find 11 Rodolfo – ‘Lovely maid in the moonlight’ 4:16 [p. 68] you here’ 4:57 [p. 83] (Rodolfo, Mimì) (Marcello, Mimì) 4 Rodolfo – ‘Marcello, you’re outside here’ 1:45 [p. 84] Act II 19:20 [p. 54] (Rodolfo, Marcello, Mimì) 12 Hawkers – ‘Come, buy my oranges!’ 2:48 [p. 69] 5 Rodolfo – ‘Mimì is fickle-hearted’ 1:25 [p. 84] (Chorus, Schaunard, Rodolfo, Mimì, Colline, Marcello) (Rodolfo, Marcello) 4 5 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 6

6 Rodolfo – ‘Mimì’s so sickly, so ailing!’ 3:29 [p. 85] (Rodolfo, Marcello, Mimì) Giacomo Puccini: La bohème 7 Mimì – ‘To the home that she left’ 3:13 [p. 86] (Mimì) La bohème, we note, retains its French title even ‘Lovely maid in the moonlight’. It also had its 8 Rodolfo – ‘Then it really is over’ 5:55 [p. 86] when the Italian is sung in English. The share of contortions and contrivances, starting (Rodolfo, Mimì, Marcello, Musetta) Times’ critic reviewing the British premiere with the very first line: ‘This Red Sea Passage observed that a literal translation would be feeleth damp and chill to me’. The last Act IV 29:45 [p. 83] misleading because this was not really an opera complete sentence in the opera was also 9 Marcello – ‘In a coupé?’ 1:13 [p. 88] about Bohemia. The English vocal score was memorable in that old translation: ‘What’s the (Marcello, Rodolfo) entitled The Bohemians, and that, he suggested, meaning of these comings and goings, these 10 Rodolfo – ‘Oh Mimì, our love is over’ 5:47 [p. 89] would suit better. The reason for his thinking glances so strange?’ Remarkably, all these (Rodolfo, Marcello, Schaunard, Colline) along these lines lay no doubt in the fact that oddities of expression passed us by: we didn’t 11 Colline – ‘Gavotta’ 1:47 [p. 91] the performance had taken place not among really mind them, even grew rather fond of (Colline, Marcello, Rodolfo, Schaunard) the international crowd at London’s Covent them. Good, natural English would no doubt 12 Musetta – ‘It’s Mimì! It’s Mimì who is with me’ 6:04 [p. 92] Garden but in the Carl Rosa Company’s season have been preferable even so. (Musetta, Rodolfo, Schaunard, Mimì, Marcello) at the Theatre Royal in Manchester; and it had Whatever the textual shortcomings of that 13 Colline – ‘Venerable garment, listen’ 2:38 [p. 94] been given in English. first performance, the Manchester public loved (Colline, Schaunard) The critic did not object to that; he did it, and the night of 22 April 1897 made history. 14 Mimì – ‘Have they left us?’ 6:53 [p. 95] think, however, that it might have been given Next day (next day, note) Londoners could read (Mimì, Rodolfo, Schaunard) in rather better English. ‘Her food most of a resounding success. Puccini had ‘treated his 15 Musetta – ‘Sleeping?’ – Rodolfo – ‘Just resting’ 2:16 [p. 96] predilected is the heart’ was a sentence that subject with the delicacy, lightness, power and (Musetta, Rodolfo, Marcello, Mimì) took his fancy, and he had great fun with ‘And force of a master’, and ‘the performance was in 16 Rodolfo – ‘What did the doctor say?’ 2:58 [p. 97] I, Marcel, will not hide you’. He urged almost every respect a genuine triumph for all (Rodolfo, Marcello, Musetta, Schaunard, Colline) immediate and thorough revision, which was concerned’. Puccini, who had been very TT 56:03 [p. 83] probably carried out as the offending sentences downcast since his arrival in the city, cheered were not part of the translation which remained up. Tito Ricordi, the publisher, who was with in general use for the next half-century. That, of him (a great joker too, and able, apparently, to course, included such highlights as ‘Your tiny sing any part in the opera himself) was jubilant hand is frozen’, ‘They call me Mimì’ and that his idea of placing the premiere outside

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London had worked so well. And he was singing Rodolfo in a fresh, unmawkish masterpiece in itself, with its profusion of through with contrast, which bears the imprint probably right: when the opera came to Covent production by Sadler’s Wells, yet felt somehow melodic ideas (eight come to mind of the famous sentence in Henry Murger’s Garden it met with little interest and was soiled by it. immediately), the variety of its texture (solo and novel Scènes de la vie de bohème from which dismissed in the press as ‘not stimulating If this has changed, it is partly due to a choral passages, solo voices in ensemble, a single Puccini and his librettists took their enough to be heard often’. steadily growing appreciation of the score as a child’s voice or a voice from off-stage, off-stage inspiration: ‘A gay life but a terrible one’. The Its later success in the capital has been compound, its elements united with a skill that military band, full forces combined), the range Times’ critic took this up too, and quoted attributed to Nellie Melba’s advocacy and her engages the analytical mind and makes of the of its ‘language’ (the tenderness of lovers, the further from Murger. These ‘bohemians’, he lovely singing in the role of Mimì. That played work something quite different from the Christmas Eve excitement of the crowd, says, are people of extremes, both stoical and its part no doubt, especially with the comédie larmoyante perceived by its detractors. tantrums and expostulations, lilting charm and spendthrift, adapting to the changing winds of fashionable people at Covent Garden who Books such as Mosco Carner’s critical ecstatic rejuvenation). But all of that, and the fortune: might not have taken very enthusiastically to biography (1958) and (shorter but no less wonderful joinery of these many parts, is in a Rain or dust, cold or heat; nothing stops these an opera set in a garret. But almost certainly suggestive) Edward Greenfield’s Puccini: Keeper sense incidental to the act’s effectiveness in its bold adventurers. When want possesses them, the piece would have prevailed eventually by its of the Seal, also 1958, brought intelligence to place within the work as a whole. It is the abstemious as anchorites; but if a little fortune own appeal, as it did throughout the operatic the work of this emotional composer, and the scherzo movement of the symphony, a brilliant falls into their hands, see them ride forth on the world. Another reason sometimes given to effect was not a dichotomy in which cerebral allegro in major key; also an assertion, within most ruinous fancies. explain its popularity is that ‘ordinary folk’ and intuitive processes were separate and what is to be a tragic context, of the human The straightforward, down-the-middle could identify with the characters, and, as it distinct but rather a symbiosis, emotional and comedy, where we see the individuals in divisions of the first and fourth acts reflect this was rather patronizingly expressed, the intellectual responses developing as one. perspective as part of the larger scene. Moreover, pattern of contrasts. The masculine knock- Woolworth’s shop-girl could see herself in ‘Learning’ La bohème in this way over the years in much (though not all) the music is ‘organic’, about and horseplay of the first half contrasts Mimì. Melody and sentiment have been has been a process of steady enrichment. The related closely to the body of the other, longer with the romantic lyricism of the second, and thought sufficient both to account for the structure of each act, its relation to the others, and more serious acts. Thus, the lovers’ phrases that in itself involves a further contrast, with opera’s enduring charm and to discredit its the inter-relating of motifs, all come to form a delicately elusive variation on the love the first act rapturous in its happiness, the stronger qualities and deeper effect. It is recognition gradually, as such things will music of Act I. Even the pattern of the fourth passionate in tragedy. The balances of interesting that in England, where the first- generally do in a great work of art. Strangely (it introductory bars for brass is related to another the third act are more subtle. Here the night audience so decisively took the opera to may seem), the process is comparable to that of opening sequence, that of Act III, where the contrasts are worked into the material, starting its heart, a distaste for Puccini’s work as a ‘learning’ Eliot’s poem ‘The Waste Land’: bits parallel chords have no middle note to give with the evocation of interior warmth and whole should have prevailed for so long among stick in the memory like fragments of melody, them warmth, but are left hollow and chilly as jollity with the voices and snatch of Musetta’s so many musicians and music-lovers. Even as and gradually they connect, their significance the snowy dawn on a day when fears cast a song heard from the tavern contrasting with late as 1944 Peter Pears could write to clarifying as it deepens. deepening shadow and hopes fade. the cold outside and the pitiful figure of the ‘It’s dirty music’: he was Take Act II, for instance. It is a small The whole fabric of the opera is shot stricken Mimì. The act culminates in the 8 9 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 10

quartet, which represents the contrasting are there at the heart of the opera too. they should eat out. Just as they are about to other’s presence, but eventually Musetta sends modes of the whole opera, as the long, sad Structurally, gaiety accounts for almost half. leave the landlord arrives with a demand for Alcindoro off to have her pinching shoe mended, phrases of Mimì and Rodolfo combine with The ‘terrible’ is in abeyance. We know that the . They manage to avoid paying and set off, and throws herself into Marcello’s arms. the essentially comic declamatory cries of Bohemians are often hungry and sometimes leaving Rodolfo behind to finish writing an When the bohemians come to pay the bill Musetta and Marcello. Every so often there heartbroken, and that Mimì is frail, coughs and article. they realize that they have already spent comes a forlorn reminder of the attic, with the might die. But terror does strike. I don’t believe There is a knock at the door. His neighbour Schaunard’s money so the bill is left for four-note motif that sets the opera (and that anybody, however sophisticated and Mimì has called to ask for a light for her Alcindoro to pay! Act IV) off to such a vigorous start. And as however familiar with the work, does not feel candle. As she comes in she almost faints, Mimì and Rodolfo slowly leave the stage, their the shock of that bleak, minor chord before dropping her candle and the key to her room. Act III music gradually dying away, we think that this poor Rodolfo’s cries of ‘Mimì!’. The violins When she has recovered, the two search for the At the city gate, the Barrière d’Enfer, on a cold is how the act will end – but then comes an lament now without restraint and the little key. Rodolfo finds it, but slips it into his February dawn, customs men search the abrupt fortissimo from the orchestra, loud, group of cowed people on stage, comforting pocket and pretends to continue the search. workers as they enter the city. Marcello is sharp and final as the slamming of a door. one another in their grief, becomes for that Soon their hands touch. He tells her about working at a tavern and Mimì has come to ask Partly this is Puccini the artist, rounding off moment the very picture of stricken humanity. himself and she does the same. Rodolfo’s him to talk to Rodolfo as his jealousy is his scene with a reference to its start (those two friends shout up to him, but he calls down that ruining their relationship. Marcello agrees and unison notes, ‘ta-tum’, brought the curtain up © 1998 John Steane he will meet them at the Café Momus, sends her home. Rodolfo has been asleep inside some twenty-five minutes ago). But it too is bringing Mimì with him. and when he comes out Mimì hides close by. representative. Before that strike or slam of Synopsis She overhears Rodolfo telling Marcello that she fortissimo, the audience will nearly always have Act II is dangerously ill and that he believes that her started to clap, thinking that the act is over, Act I The bohemian friends wander in the street only chance of living is to leave him and his trickling out with the sweet–sad music of the It is Christmas Eve in a garret in the Latin market outside the Café Momus. On their way life of poverty. Mimì reveals her presence by a lovers. In this, they represent the critics of quarter of . Rodolfo and Marcello are to the Café Mimì and Rodolfo stop and he buys coughing fit. Mimì and Rodolfo decide not to Puccini who judge before hearing him out. trying to work, but both are very cold. Rodolfo Mimì a pink bonnet. They go on and she is part until spring comes. Meanwhile Marcello, And in overlooking the other element in the decides to burn the manuscript on which he is introduced to Rodolfo’s friends. The five sit who has gone back into the tavern, accuses compound of contrasts, they miss a great deal of working, in order to provide some little heat. down together and order food and wine. Musetta of flirting with a stranger, and the two what La bohème essentially is. Murger’s terms, Their friend Colline arrives and soon two boys Marcello loses his temper when he sees Musetta, end their relationship. we remember, were ‘gay but terrible’. If we enter, bringing food, wine and fuel. They are an old flame, walk by with an elderly and rich think of Bohème as Mimì we might suppose followed by Schaunard who has bought the admirer, Alcindoro. Musetta takes a table and Act IV that Puccini diluted this to ‘sweet but sad’. In provisions and still has some money left over, orders extravagantly. Marcello and Musetta both It is spring and Rodolfo and Marcello are alone fact, the gaiety and the ‘terror’ (or ‘the terrible’) and he suggests that, as it is Christmas Eve, make a pretence of being indifferent to each again. Schaunard and Colline enter with some 10 11 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 12

meagre food and the four friends pretend that National Opera with performances for the Il trovatore with Giuseppe Sinopoli, and Orazi e Curiazi, Rosmonda d’Inghilterra, they are having a dinner party with dancing. other major UK opera companies (such as appearances in Der Rosenkavalier, , Simon Ricciardo e Zoraide and Maria regina When they are all enjoying themselves Musetta Luisa Miller for ), while his Boccanegra and Aida. Dennis O’Neill is also a d'Inghilterra (all for Opera Rara). bursts in to tell them that Mimì is below, too international career has taken him to Bayreuth busy concert artist and has sung throughout weak to even climb the stairs. Rodolfo rushes (Beckmesser), and the opera houses of Europe with conductors including Riccardo William Dazeley is a graduate of Jesus College, to help and the others prepare a bed for her. Chicago, Santa Fé, Paris, Amsterdam, Vienna, Muti, Sir Colin Davis and Sir Simon Rattle. Cambridge, and he studied singing at the While Rodolfo looks after Mimì, Musetta Brussels and Berlin. His many recordings Recordings include Tosca and Cavalleria Guildhall School of Music and Drama. Prizes explains to him that Mimi wanted to come include the Grammy Award-winning Peter rusticana (both for Chandos/Peter Moores include the Decca–Kathleen Ferrier Prize, the back to the garret where she had been so happy Grimes (for Chandos), Gloriana, The Rape of Foundation), Der Rosenkavalier under Sir Richard Tauber Prize and the Walther Gruner with him. Musetta, Colline and Schaunard Lucretia, the title role in Dallapiccola’s Ulisse, Georg Solti, Die Fledermaus, Macbeth, and International Lieder Prize. His extensive leave Mimì and Rodolfo alone and the two and and Pagliacci (for . operatic repertoire includes the title roles in remember the love that they shared and how Chandos/Peter Moores Foundation). Don Giovanni, Owen Wingrave, and they first met. The friends gradually return, Alastair Miles, internationally recognized as Eugene Onegin, Papageno (Die Zauberflöte), but it is too late. Mimì is dead. Born in Wales of Irish and Welsh parents, one of Britain’s leading singers, has sung at Pelléas, Mowgli (Michael Berkeley’s Baa Baa Dennis O’Neill is one of the world's leading opera houses all over the world including the Black Sheep), Danilo (The Merry Widow) and and a specialist in the works of Verdi. House, Opéra national de the Count and Rudolph (Der ferne Klang). He Alan Opie was born in Cornwall and studied He has enjoyed a long association with the Paris, the Bastille, Vienna, San Francisco, has appeared with the Royal Opera, Opera at the Guildhall School of Music and Drama , Covent Garden, where his Amsterdam, and the Royal Opera House, North, Glyndebourne Touring Opera, Teatro and the London Opera Centre. His career roles have included Rodolfo (La bohème), the Covent Garden. Roles have included Giorgio Regio Turin, Opéra de Lyon and New Israeli began with (then Duke (Rigoletto), Pinkerton, Edgar (Lucia di (I Puritani), Raimondo (Lucia di Opera. Recordings include Baa Baa Black Sadler’s Wells) where he was appointed Lammermoor), Macduff (Macbeth), Gustave Lammermoor), Basilio, Figaro, the title role in Sheep, Britten’s The Rescue of Penelope and principal baritone while still a student. Among (Un ballo in maschera), Foresto (Attila), Otello, Oberto, Fiesco (Simon Boccanegra) and Busoni’s Dr Faust. the roles he has performed there include the Don Carlos, Radames (Aida) and Jacopo (I due Sparafucile (Rigoletto). title roles in The Barber of Seville, and Busoni’s Foscari). He has appeared in the United States His highly successful concert career takes Andrew Shore is now acknowledged as Dr Faust, Germont (), Eisenstein with the Metropolitan Opera and Chicago him worldwide, performing under such Britain’s premier buffo baritone. Since making and Falke (Die Fledermaus), Sharpless (Madam Lyric Opera, and has given many concert conductors as Carlo Maria Giulini, Zubin his English National Opera debut in 1988, Butterfly), Papageno (The Magic Flute), Sancho performances there. Mehta, Kurt Masur and John Eliot Gardiner. roles there have included , Dieg (in Panza (Don Quixote) and Taddeo (The Italian A frequent guest at the Bayerische His many recordings include Mendelssohn’s ’s The Making of the Representative Girl in Algiers). Staatsoper, Munich, his debut in Un ballo in Elijah, the Verdi and Handel’s Saul of Planet 8), Papageno (The Magic Flute), He has combined his work at English maschera was followed by a new production of and Agrippina, as well as Medea in Corinto, Monsieur Calcul (La belle Vivette), Don 12 13 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 14

Pasquale and . He has also the Boston Symphony Orchestra. Her Munich and has performed at English concerts, commercials (TV and radio), charity sung with , Opera North, Welsh discography include’s Tippett’s A Child of Our National Opera, Cologne Opera, Lausanne events, festivals and theatre productions in the National Opera, New Israeli Opera, Time (for Chandos), a solo recording ‘Where Opera and Los Angeles Opera. UK, France, Belgium, Holland, Germany, Glyndebourne Festival Opera, and in Lyon, the Music Comes From – American Songs’, Marie McLaughlin has appeared in concert Spain and the USA. Its membership is by Montpelier, Barcelona and Hamburg. His and Porgy and Bess. with some of the world’s greatest conductors invitation and audition, drawing participants recordings include The Barber of Seville and including , from those already experienced in singing Tosca (for Chandos/Peter Moores Foundation) Mark Milhofer studied singing at the and Giuseppe Sinopoli and her recordings performance, at English National Opera where and The Makropulos Affair. Guildhall School of Music and Drama and has include Zerlina (Don Giovanni, under Sir Peter Kay is Children’s Adviser, Finchley studied with Neil Mackie and Bernard ), Despina (Così fan tutte, Children’s Music Group, New London Cynthia Haymon was born in Jacksonville, Dickerson. In 1992 he joined the under ), and discs of songs by Children’s Choir, The Jennifer Lilleystone Florida. Since making her debut in 1985 as Glyndebourne Festival Opera, appearing in Schubert and Strauss. She has also appeared in Singers and schools all over London and the Thea Musgrave’s Harriet, a Woman called Moses Così fan tutte and . He has sung video recordings of Rigoletto, La traviata and south of England. for the Virginia Opera world premiere, she has the title role in Idomeneo and Lensky (Eugene . appeared at Covent Garden (Bess and Mimì), Onegin) at the Oxford Playhouse, Don Ramiro When he formed the Philharmonia Orchestra Glyndebourne, Hamburg, Munich and many () for the Teatro Regio, Parma, Geoffrey Mitchell’s singing career encompassed Walter Legge realized his great ambition of other prestigious opera houses. She made her Tamino (Die Zauberflöte) with the European a remarkably wide repertoire from early to forming a hand-picked orchestra of world-class European debut in 1986 as Bess (Porgy and Chamber Opera, Dido and Aeneas and Curlew contemporary music. This resulted in standing. The Philharmonia Orchestra gave its Bess) in Trevor Nunn’s acclaimed production at River for Opera Factory, and The Indian Queen conducting invitations from the BBC and first concert under Sir Thomas Beecham in Glyndebourne, and other roles include Liù and concerts with the King’s Consort subsequently to a wider involvement with his October 1945 and rapidly became recognized () in Hamburg and Munich, Amor throughout Europe. own singers and this led to the establishment as one of the world’s truly great orchestras. (Gluck’s Orfeo) at the Théâtre royal de la of the Geoffrey Mitchell Choir. Early Many world-famous conductors have been Monnaie, Brussels, Pamina (Die Zauberflöte) at Marie McLaughlin is now firmly established as recordings resulted in the choir’s long-term associated with the orchestra and it remains the the Bastille, Micaela (Carmen) with the Israel one of the world’s leading operatic . involvement with Opera Rara for whom they world’s most recorded orchestra, with a Philharmonic Orchestra and Seattle Opera, and Her international successes have included have recorded fifteen , and it is currently discography of over one thousand recordings Susanna (Le nozze di Figaro) for Seattle Opera. Susanna at the Salzburg Festival, the enjoying a growing reputation with further including operas for the Peter Moores In concert Cynthia Haymon has appeared Metropolitan Opera and the Royal Opera work from the BBC and international Foundation/Opera Rara. The Philharmonia’s with the Israel Philharmonic under Kurt House, Zerlina, Susanna and Ilia at the Vienna recording companies. position as ‘London’s leading orchestra’ stems Masur, the London Symphony Orchestra State Opera, Donna Elvira and Violetta at from its vitality, unique warmth of sound and under Myung-Whun Chung and Michael Glyndebourne and Susanna in Geneva. She The Peter Kay Children’s Choir provides commitment to commissioning and Tilson Thomas, the Cleveland Orchestra and also appears regularly in Hamburg, Berlin and young singers with opportunities in opera, performing music by leading contemporary 14 15 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 16

composers such as the late Witold Lutoslawski, premiere of Peter Grimes in Madrid, and in Sir and the orchestra’s 1996 he conducted the first Spanish production Opera in English on Chandos visiting composer, James MacMillan. of The Rake’s Progress, inaugurated two new concert halls with Beethoven’s Ninth David Parry studied with Sergiu Celibidache Symphony and a new opera house with and began his career as Sir John Pritchard’s Carmen. He has also appeared in Italy, where he assistant. He made his debut with English conducted Ricciardo e Zoraide in the Rossini Music Theatre and went on to become a staff Opera Festival at Pesaro, in France, Germany, conductor at Städtische Bühnen Dortmund Belgium, Holland, and in Sweden where he and at Opera North. He was Music Director of conducted an acclaimed production of Britten’s Opera 80 from 1983 to 1987, and since 1992 A Midsummer Night’s Dream. has been the founding Music Director of the Outside Europe David Parry has appeared at contemporary opera festival Almeida Opera. the Hong Kong International Festival, with the He pursues a busy career both in opera and UNAM Symphony Orchestra at Mexico City, in concert. His repertoire extends from Mozart with a tour of Carmen in Japan and, in 1996, and early nineteenth-century Italian opera to conducting a new production of Katya Janácˇek, Britten and contemporary music. In Kabanova for the New Zealand Festival. England he has appeared regularly at English He has recorded extensively for the Opera CHAN 7023/4 (2-CD set) CHAN 3000(2) (2-CD set) National Opera and in concert with the Rara label, the most recent issue being Philharmonia. In 1996 he made his debut at Donizetti’s Rosmonda d’Inghilterra, which won the Glyndebourne Festival with Così fan tutte. the Prix Cecilia in Belgium and for Chandos He is a frequent visitor to Spain where he has he has conducted Cavalleria rusticana, the appeared with most of the opera companies and award-winning recording of Tosca and a symphony orchestras. He gave the Spanish recording of operatic arias with Bruce Ford.

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to various young artists, several of whom – such as Geraint Evans, Joan Sutherland and Colin PETER MOORES, CBE, DL Davis – have since become world-famous. Moores has always been astute in his recognition Peter Moores was born in Lancashire in 1932, son of Sir John Moores, founder of the giant of potential quality. In 1964 he set aside a large slice of his inheritance to found the Peter Littlewoods mail order, chain store and football pools group. He was educated at Eton and Moores Foundation, a charity designed to support those causes dear to his heart: to make Christ Church, Oxford, where he read Modern Languages. He was already fluent in music and the arts more accessible to more people; to give encouragement to the young; to German and Italian. It was opera which was his great love, however. He had worked at fight discrimination and to improve race relations. 99% of the Foundation’s money has come Glyndebourne before going up to university, and at the end of his second year he left from Peter Moores’s own pocket – so far about £33 million in today’s money. Oxford to become a production student at the Vienna State Opera. He was required to attend morning rehearsals and evening performances, but the afternoons were free, so he enrolled as well for a four-year course at the Viennese Academy of Music and Dramatic Art. PETER MOORES FOUNDATION By the end of his third year Moores had produced the Viennese premiere of Britten’s In the field of music, the Peter Moores Foundation awards scholarships to promising young The Rape of Lucretia, had worked as Assistant Producer at the opera singers through the Royal Northern College of Music. Financial help may be given also San Carlo Opera House, Naples, the Geneva Festival and the to enable a singer to study abroad, or to work on a new role with an acknowledged expert in Rome Opera, and seemed set for a successful operatic career. the repertoire. At this point he received a letter from his father asking him In the last twenty years the Foundation has supported the recording of thirty-eight operas. to come home as he was needed in the firm. Family loyalty Many are sung in English, in translation, because Moores believes that in the popular was paramount and he returned to Liverpool immediately. repertoire, ‘what people want is to be able to follow the plot of an opera and understand what Christina Burton/PMF By 1977 he was Chairman of Littlewoods. Three years is going on’. Others are of interesting but unperformed Italian operas from the early later he stepped down from the post, although still nineteenth century (the age of bel canto), which are otherwise only accessible to scholars. remaining on the Board, and was director of a merchant Accessibility is the key word. bank. From 1981 to 1983 he was a Governor of the BBC, The same criterion holds where live opera is concerned. So the Foundation may sponsor and a Trustee of the Tate Gallery from 1978 until 1985. In , performing for a week at the Liverpool Empire and charging only May 1992 he became a Deputy Lieutenant of Lancashire. £2.50 per ticket – the provision being that each ticket holder must be a first-time opera And in the New Year’s Honours List for 1991 he was made a visitor – or it may fund the production at Glyndebourne of Ermione, a bel canto opera never CBE for his charitable services to the Arts. before performed in England. He had started his early twenties giving financial support Peter Moores, CBE, DL The aim is always the same: availability. ‘Share and enjoy’ is his philosophy.

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enthusiastisch aufgenommen hätten. Anerkennung der Partitur als Kombination Giacomo Puccini: La bohème Andererseits hätte sich das Stück dank seiner von Elementen zurückzuführen, die mit einem eigenen Zugkraft höchstwahrscheinlich auch Geschick vereint wurden, das den analytischen von selbst durchgesetzt, wie es das in der Verstand anspricht und aus dem Werk etwas Der Titel La bohème, das stellen wir fest, bleibt hieß es, habe “sein Thema mit der gesamten Opernwelt getan hat. Ein weiterer ganz anderes macht als die comédie larmoyante, erhalten, auch wenn die italienische Oper in Feinfühligkeit, Leichtigkeit, Eindringlichkeit Grund, der manchmal genannt wird, um seine die ihre Verleumder in ihr sehen. Bücher wie einer anderen Sprache gesungen wird. Der und Energie eines Meisters angepackt”, und Popularität zu erklären, ist der, daß sich Mosco Carners kritische Biographie (1958) Kritiker der Times, der einst die britische die Darbietung sei “in fast jeder Hinsicht ein “gewöhnliche Leute” mit den Figuren und Edward Greenfields ebenfalls 1958 Erstaufführung besprach, meinte, daß eine echter Triumph für alle Beteiligten” gewesen. identifizieren könnten und daß, so die eher erschienener Band Puccini: Keeper of the Seal wörtliche Übersetzung irreführend wäre, da es Puccini, der seit seiner Ankunft in der Stadt herablassende Ansicht, die Verkäuferin sich in (kürzer, aber nicht weniger aufschlußreich) sich nicht in dem Sinne um eine Oper über sehr niedergeschlagen war, lebte auf. Tito Mimì wiedererkennen könne. Melodienfülle gingen mit Intelligenz auf das Wirken dieses Böhmen handle. Die englische Gesangspartitur Ricordi, der Verleger, der ihm zur Seite stand und Empfindsamkeit wurden beide als emotionalen Komponisten ein, und der Effekt war The Bohemians überschrieben, und das, (nebenbei ein Spaßvogel und angeblich fähig, ausreichend bewertet, um sowohl den war nicht der einer Dichotomie, in der meinte er, sei doch passender. Daß er so jede Partie der Oper selbst zu singen), war dauerhaften Charme der Oper zu begründen Denkprozesse und Intuition getrennt und dachte, lag zweifellos daran, daß die überglücklich, daß sich seine Idee, die als auch ihre stärker ins Gewicht fallenden voneinander abgehoben waren, sondern Aufführung nicht vor internationalem Erstaufführung außerhalb Londons zu Vorzüge und ihre Tiefenwirkung in Frage zu vielmehr eine Symbiose emotionaler und Publikum im Londoner Covent Garden, plazieren, so bezahlt gemacht hatte. Und er stellen. Es ist schon interessant, daß in intellektueller Entwicklung, die als Einheit sondern während der Saison der Carl Rosa hatte vermutlich recht: Als die Oper nach England, wo das Publikum der Erstaufführung erfolgt. La bohème über die Jahre hinweg auf Company am Theatre Royal in Manchester Covent Garden gelangte, brachte man ihr die Oper so eindeutig ins Herz geschlossen diese Art zu “erfahren”, war ein Vorgang erfolgt war, und zwar in englischer Sprache. wenig Interesse entgegen und tat sie in der hatte, bei derart vielen Musikern und stetiger Bereicherung. Die Struktur eines jeden Dagegen hatte der Kritiker nichts; allerdings Presse ab als “nicht anregend genug, um des Musikliebhabern lange Zeit eine Abneigung Akts, sein Verhältnis zu den anderen, die fand er, daß sie in besserem Englisch hätte öfteren gehört zu werden”. gegen Puccinis Schaffen insgesamt herrschen Wechselbeziehungen der Motive – dies alles gegeben werden können. Ihr späterer Erfolg in der britischen sollte. Noch 1944 konnte Peter Pears an wird, wie es bei einem bedeutenden Kunstwerk So groß die Mängel im Text der Hauptstadt wird der Fürsprache Nellie Melbas Benjamin Britten schreiben: “Es ist unsaubere generell der Fall ist, allmählich erkannt. Erstaufführung gewesen sein mögen: Das zugeschrieben, sowie ihrer reizvollen Musik”. Er sang damals den Rodolfo in einer Seltsamerweise (so mag es einem vorkommen) Publikum in Manchester war begeistert und Darbietung in der Partie der Mimì. Das spielte frischen, ganz und gar nicht rührseligen ist dieser Vorgang dem vergleichbar, der mit der Abend des 22. April 1897 ging in die zweifellos eine wichtige Rolle, vor allem bei Produktion von Sadler’s Wells, fühlte sich der “Erfahrung” von T.S. Eliots Gedicht “The Geschichte ein. Tags darauf (schon tags den modebewußten Herrschaften in Covent dadurch aber dennoch irgendwie beschmutzt. Waste Land” verbunden ist: Fragmente bleiben darauf!) erfuhren die Londoner Leser von Garden, die eine Oper, welche in einer Wenn sich das gründlich geändert hat, so ist im Gedächtnis haften wie Melodiefetzen und einem durchschlagenden Erfolg. Puccini, so Mansarde spielt, sonst vielleicht nicht so dies teilweise auf die stetig wachsende verknüpfen sich nach und nach, wobei ihre 20 21 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 22

Bedeutung mit zunehmender Vertiefung bilden die Äußerungen der Liebenden eine sieht man sie den verderblichsten Neigungen verebbt, denken wir, daß der Akt so enden immer klarer wird. flüchtige, schwer zu bestimmende Variation frönen. wird – doch dann spielt das Orchester ein Man nehme zum Beispiel den II. Akt. Er ist über die Liebesmusik des I. Akts. Selbst die Die schlichten, geradlinigen Unterteilungen unverhofftes Fortissimo, laut, gellend und an und für sich schon ein kleines Meisterwerk, Anordnung der Eröffnungstakte für des I. und IV. Akts entsprechen dieser endgültig wie das Zuschlagen einer Tür. mit seiner Vielzahl melodischer Einfälle (acht Blechbläser ist einer anderen Eröffnungs- Kontrastvorgabe. Der maskuline Klamauk und Daran ist einerseits der Künstler Puccini fallen einem augenblicklich ein), seinem sequenz verwandt: der des III. Akts, wo die Unfug der ersten Hälfte hebt sich vom schuld, der seine Szene mit einem Verweis auf abwechslungsreichen Aufbau (Solo- und parallelen Akkorde keine mittlere Note haben, romantisch lyrischen Charakter der zweiten ab, den Anfang abrundet (die beiden Unisono- Chorpassagen, Solostimmen im Ensemble, die ihnen Wärme verleihen könnte, sondern und die ist mit einem weiteren Kontrast Noten “ta-tum” haben runde fünfundzwanzig eine einzelne Kinderstimme oder eine Stimme hohl und kalt zurückbleiben wie das verbunden, hingerissen vor Glück der I., der Minuten zuvor den Vorhang aufgehen lassen). aus den Kulissen, Militärkapelle hinter der schneeverhangene Morgengrauen an einem IV. leidenschaftlich in seiner Tragik. Die Andererseits ist es bezeichnend. Vor dem Bühne, alle Beteiligten zusammen) und der Tag, an dem die Angst einen immer tieferen Gewichtungen des III. Akts sind subtiler. Hier Überraschungsschlag des Fortissimo hat das Bandbreite seiner “Sprache” (die Zärtlichkeit Schatten wirft und die Hoffnungen sind die Kontraste ins Material eingearbeitet, Publikum fast immer zu klatschen angefangen, der Liebenden, die Erregung der Menge am schwinden. angefangen mit der Beschwörung innerer in dem Glauben, der Akt sei zu Ende, im Weihnachtsabend, Wutanfälle und Das ganze Gefüge der Oper ist von Wärme und Fröhlichkeit durch die Stimmen Begriff, mit der traurig süßen Musik der Vorhaltungen, trällernder Liebreiz und Kontrasten durchzogen, die den Stempel des und den Fetzen von Musettas Lied, die aus Liebenden zu verklingen. In dieser Hinsicht ekstatische Verjüngung). Doch das alles fällt bekannten Spruchs aus Henri Murgers Scènes dem Gasthaus herüberdringen, im Gegensatz versinnbildlicht es die Kritiker Puccinis, die ihr wie die wunderbare Zusammensetzung der de la vie de bohème tragen, von dem sich zur draußen herrschenden Kälte und der Urteil fällen, ohne ihn ausreden zu lassen. Und vielen Komponenten in gewisser Hinsicht Puccini und seine Librettisten inspirieren kummervollen Gestalt der verzweifelten Mimì. indem sie jenes andere Element in der weniger ins Gewicht als die Wirksamkeit des ließen: “Vita gaia e terribile” – ein lustiges, Der Akt gipfelt im Quartett, das die Zusammenstellung der Kontraste übersehen, Akts an seinem Platz innerhalb des gesamten aber entsetzliches Leben. Das griff auch der unterschiedlichen Modi der ganzen Oper versäumen sie viel von dem, was La bohème Werks. Er ist das Scherzo der Sinfonie, ein Kritiker der Times auf und brachte ein weiteres wiedergibt, wenn sich die langen, traurigen seinem Wesen nach ist. Murgers Begriffe, wir brillantes Allegro in Dur; er ist ein Durchbruch Zitat von Murger. Die “Bohemiens”, sagt er, Phrasen Mimìs und Rodolfos mit den erinnern uns, lauteten “lustig, aber entsetzlich”. für die menschliche Komödie im wesentlich seien zu Extremen neigende Menschen, sowohl hauptsächlich komischen deklamatorischen Setzen wir Mimì mit der Bohème gleich, tragischen Zusammenhang, der uns die stoisch als auch verschwenderisch, und paßten Rufen Musettas und Marcellos vereinen. Hin könnten wir darauf kommen, daß Puccini sie Figuren in der richtigen Perspektive als Teil sich den wechselhaften Winden des Schicksals und wieder kommt es in Form des vier Noten zu “lieb, aber traurig” verwässert habe. eines größeren Ganzen vor Augen führt. an: langen Motivs, das die Oper (und den IV. Akt) Tatsächlich stecken die Lustigkeit und das Darüber hinaus ist die Musik im wesentlichen Regen oder Staub, Kälte oder Hitze; nichts hält mit soviel Schwung in Gang bringt, zu einer “Entsetzen” (bzw. das “Entsetzliche”) auch im (wenn auch nicht durchweg) “organisch” und diese kühnen Abenteurer auf. Wenn sie von Not tristen Erinnerung an die Mansarde. Wenn Herzen der Oper. Vom Aufbau her ist steht in enger Beziehung zur Gesamtheit der getrieben, genügsam wie die Einsiedler; fällt Mimì und Rodolfo dann langsam von der Lustigkeit für nahezu die Hälfte anderen, längeren, ernsthafteren Sätze. So ihnen jedoch ein kleines Vermögen in die Hände, Bühne abgehen und ihre Musik allmählich verantwortlich. Das “Entsetzliche” ist zeitweilig 22 23 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 24

außer Kraft gesetzt. Wir wissen, daß die eingekauft und noch etwas Geld übrig hat. Er bekanntgemacht. Alle fünf nehmen zusammen Meinung nach nur dann eine Chance zum Bohemiens oft hungern und manchmal schlägt vor, da Weihnachten ist, zum Essen Platz und bestellen Essen und Wein. Marcello überleben hat, wenn sie ihn und sein Leben in todunglücklich sind, daß Mimì gebrechlich ist, auszugehen. Als sie sich zum Gehen braust auf, als er Musetta, eine alte Flamme, Armut hinter sich läßt. Mimì verrät mit einem hustet und möglicherweise sterben muß. Aber anschicken, erscheint der Hausherr, um die am Arm eines greisen, wohlhabenden Verehrers Hustenanfall ihre Gegenwart. Mimì und das Entsetzen schlägt dennoch ein. Ich glaube Miete einzutreiben. Sie schaffen es, die fällige namens Alcindoro vorbeiflanieren sieht. Rodolfo beschließen, nicht mehr nicht, daß jemand, und sei er noch so gebildet Zahlung zu umgehen, und brechen auf. Nur Musetta sucht einen Tisch aus und bestellt ein auseinanderzugehen, bis es Frühling wird. und mit dem Werk vertraut, sich dem Schock Rodolfo bleibt zurück, um einen Artikel verschwenderisches Mahl. Marcello und Mittlerweile beschuldigt Marcello, der wieder jenes trostlosen Mollakkords entziehen kann, fertigzuschreiben. Musetta tun so, als sei ihnen die Gegenwart hineingegangen ist, Musetta der Schäkerei mit der den Rufen des armen Rodolfo nach Mimì Da klopft es an der Tür. Rodolfos des jeweils anderen gleichgültig. Doch nach einem Fremden, und sie trennen sich vorausgeht. Die Violinen klagen nun Nachbarin Mimì ist vorbeigekommen, um einer Weile schickt Musetta Alcindoro fort, um voneinander. unverhohlen, und die kleine Gruppe gebeugter Licht für ihre Kerze zu erbitten. Als sie ihren drückenden Schuh weiten zu lassen, und Menschen auf der Bühne, die einander in eingetreten ist, erleidet sie einen wirft sich Marcel in die Arme. IV. Akt ihrem Kummer trösten, wird in diesem einen Schwindelanfall und läßt sowohl die Kerze als Als die Bohemiens soweit sind, daß sie die Es ist Frühling, und Rodolfo und Marcello Augenblick zum Inbegriff leidgeprüfter auch den Schlüssel zu ihrem Zimmer fallen. Zeche zahlen müssen, haben sie Schaunards sind wieder allein. Schaunard und Colline Menschheit. Nachdem sie sich wieder erholt hat, suchen Geld längst ausgegeben und überlassen es treffen mit magerer Verpflegung ein, und die beide nach dem Schlüssel. Rodolfo findet ihn, Alcindoro, die Rechnung zu begleichen! vier Freunde geben vor, eine Festmahl mit Tanz © 1998 John Steane steckt ihn jedoch in seine Tasche und gibt vor, zu veranstalten. Als sie sich gerade köstlich die Suche fortzusetzen. Es dauert nicht lange, III. Akt amüsieren, kommt Musetta mit der Nachricht Inhaltsangabe bis sich ihre Hände berühren. Er erzählt Mimì Am Stadttor, der Barrière d’Enfer, durchsuchen hereingestürmt, daß Mimì druntenstehe, zu von sich, und sie tut es ihm nach. Rodolfos früh an einem kalten Februarmorgen Zöllner schwach, die Treppe hochzusteigen. Rodolfo I. Akt Freunde rufen von unten nach ihm, worauf er das Volk, das zur Arbeit in die Stadt strömt. eilt ihr zu Hilfe, und die anderen bereiten ein Am Weihnachtsabend in einer Mansarde im antwortet, daß er sich mit ihnen im Café Marcello arbeitet in einem Wirtshaus, und Lager für sie vor. Während sich Rodolfo um Pariser Quartier Latin versuchen Rodolfo und Momus treffen und Mimì mitbringen werde. Mimì ist erschienen, um ihn zu bitten, er Mimì kümmert, erklärt Musetta ihm, daß Marcello zu arbeiten, doch es ist ihnen beiden möge mit Rodolfo reden, da seine Eifersucht Mimì den Wunsch geäußert habe, in die bitter kalt. Rodolfo beschließt, das Manuskript II. Akt ihre Beziehung zerstört. Marcello erklärt sich Mansarde zurückzukehren, in der sie mit ihm zu verbrennen, an dem er gearbeitet hat, um Die Bohemiens schlendern über den Markt vor dazu bereit und schickt sie nach Hause. so glücklich war. Musetta, Colline und für ein wenig Wärme zu sorgen. Ihr Freund dem Café Momus. Unterwegs zum Café Rodolfo hat drinnen geschlafen, und als er aus Schaunard lassen Mimì und Rodolfo allein, Colline trifft ein, und gleich darauf bringen machen Mimì und Rodolfo halt, und er kauft dem Haus tritt, versteckt sich Mimì in der und die zwei denken zurück an die Liebe, die zwei Knaben Speisen, Getränke und Feuerholz. Mimì ein rosa Häubchen. Im Weitergehen Nähe. Sie hört mit an, wie Rodolfo Marcello sie füreinander empfunden haben, und daran, Ihnen folgt Schaunard, der die Vorräte wird Mimì mit Rodolfos Freunden anvertraut, daß sie todkrank ist und seiner wie sie sich zum ersten Mal begegnet sind. Die 24 25 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 26

Freunde kommen einer nach dem anderen (für Chandos), Gloriana, The Rape of Lucretia, Aufnahmen auf Tonträger zählen Tosca William Dazeley ist Absolvent des Jesus wieder, doch es ist zu spät. Mimì ist tot. die Titelrolle von Dallapiccolas Ulisse sowie und Cavalleria rusticana (beide für Chandos College in Cambridge und hat an der Der Barbier von Sevilla und Pagliacci (für und die Peter Moores Foundation), Der Guildhall School of Music and Drama Gesang Übersetzung: Anne Steeb/Bernd Müller Chandos und die Peter Moores Foundation). Rosenkavalier unter der Leitung von Sir Georg studiert. Unter seinen Auszeichnungen sind Solti, Die Fledermaus, Macbeth und der Decca–Kathleen-Ferrier-Preis zu nennen, Alan Opie wurde in der englischen Grafschaft Dennis O’Neill, geboren in Wales als Sohn La fanciulla del West. der Richard-Tauber-Preis und der Cornwall geboren und an der Guildhall School irischer und walisischer Eltern, ist einer der internationale Liederpreis Walther Gruner. of Music and Drama sowie am London Opera führenden Tenöre der Welt und obendrein Alastair Miles, international anerkannt als Sein umfangreiches Opernrepertoire schließt Centre ausgebildet. Seine Karriere begann bei Verdi-Spezialist. Er blickt auf eine lange einer der führenden Sänger Großbritanniens, die Titelrollen von Don Giovanni, Owen der English National Opera (damals noch: Zusammenarbeit mit dem Royal Opera House hat überall auf der Welt an Opernhäusern Wingrave, Billy Budd und Eugen Onegin ein, Sadler’s Wells), wo er noch vor Abschluß seines Covent Garden zurück, wo er unter anderem gesungen, einschließlich der Metropolitan Papageno (Die Zauberflöte), Pelléas, Mowgli Studiums als Baritonsolist beschäftigt wurde. Rodolfo (La bohème) gesungen hat, den Opera, der Opéra National de Paris, der (Michael Berkeleys Baa Baa Black Sheep), Zu den Partien, die er gesungen hat, zählen die Herzog (Rigoletto), Pinkerton, Edgar (Lucia di Opéra-Bastille, der Wiener Staatsoper, der San Danilo (Die lustige Witwe) sowie den Grafen Titelrollen im Barbier von Sevilla und im Lammermoor), Macduff (Macbeth), Gustave Francisco Opera, der Nederlandse Opera und Rudolph (Der ferne Klang). Er ist an der Doktor Faust von Busoni, Germont (La traviata), (Un ballo in maschera), Foresto (Attila), Otello, und dem Royal Opera House Covent Garden. Royal Opera, der Opera North und der Eisenstein und Falke (Die Fledermaus), Don Carlos, Radames (Aida) und Jacopo Zu seinem Repertoire gehören Giorgio Glyndebourne Touring Opera aufgetreten, am Sharpless (), Papageno (Die (I due Foscari). Darüber hinaus hat er in den (I Puritani), Raimondo (Lucia di Teatro Regio in Turin, an der Opéra de Lyon Zauberflöte), Sancho Panza (Don Quixote) und USA an der Metropolitan Opera und an der Lammermoor), Basilio, Figaro, die Titelrolle und der New Israeli Opera. Er hat unter Taddeo (Die Italienerin in Algier). Chicago Lyric Opera gastiert und zahlreiche von Oberto, Fiesco (Simone Boccanegra) und anderem Baa Baa Black Sheep, Brittens The Er hat seine Arbeit an der English National Konzertdarbietungen gegeben. Sparafucile (Rigoletto). Rescue of Penelope und Busonis Faust auf Opera mit Auftritten für die den anderen Sein Debüt an der Bayerischen Staatsoper in Seine höchst erfolgreiche Konzertkarriere Tonträger aufgezeichnet. führenden Operntruppen Großbritanniens München, wo er häufig zu Gast ist, erfolgte in führt ihn rund um die Welt zu Auftritten mit verbunden (z.B. in Luisa Miller für die Opera Un ballo in maschera, gefolgt von einer Dirigenten wie Carlo Maria Giulini, Zubin Andrew Shore ist heute als der herausragende North), und seine internationale Karriere hat Neuinszenierung von Il trovatore mit Giuseppe Mehta, Kurt Masur und John Eliot Gardiner. Buffobariton Großbritanniens anerkannt. Seit ihn sowohl nach Bayreuth geführt (als Sinopoli und Auftritte im Rosenkavalier, in Seine zahlreichen Aufnahmen auf Tonträger seinem Debüt an der English National Opera Beckmesser) als auch an die Opernhäuser von Tosca, Simone Boccanegra und Aida. Dennis umfassen Mendelssohns Elias, Verdis Requiem im Jahre 1988 hat er unter anderem Falstaff, Chicago, Santa Fé, Paris, Amsterdam, Wien, O’Neill ist außerdem ein vielbeschäftigter und Händels Saul und Agrippina sowie Medea Dieg (in Philip Glass’ The Making of the Brüssel und Berlin. Unter seinen vielen Konzertsänger und ist in ganz Europa mit in Corinto, Orazi e Curiazi, Rosmonda Representative of Planet 8), Papageno (Die Aufnahmen auf Tonträger befindet sich der mit Dirigenten wie Riccardo Muti, Sir Colin Davis d’Inghilterra, Ricciardo e Zoraide und Maria Zauberflöte), Monsieur Calcul (La belle einem Grammy ausgezeichnete Peter Grimes und Sir Simon Rattle aufgetreten. Zu seinen regina d’Inghilterra (alle für Opera Rara). Vivette), und Gianni Schicchi. 26 27 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 28

Außerdem hat er an der Kent Opera, der Haymon mit dem Israel Philharmonic Erfolgen zählen die Susanna bei den Salzburger Schallplattenaufnahmen hatten zur Folge, daß Opera North, der Welsh National Opera, der Orchestra unter Kurt Masur aufgetreten, mit Festspielen, an der Metropolitan Opera und der Chor langfristige Beziehungen zu Opera New Israeli Opera und der Glyndebourne dem London Symphony Orchestra unter am Royal Opera house, Zerlina, Susanna und Rara einging, für die er 15 Opern aufgezeichnet Festival Opera gesungen, in Lyon, Montpelier, Myung-Whun Chung und Michael Tilson Ilia an der Wiener Staatsoper, Donna Elvira hat. Derzeit genießt er dank weiterer Barcelona und Hamburg. Zu seinen Thomas, mit dem Cleveland Orchestra und und Violetta in Glyndebourne and Susanna in Verpflichtungen für die BBC und internationale Aufzeichnungen auf Tonträger gehören dem Boston Symphony Orchestra. Ihre Genf. Davon abgesehen gastiert sie regelmäßig Schallplattenfirmen wachsendes Ansehen. Der Barbier von Sevilla und Tosca (für Chandos Diskrographie umfaßt Tippetts A Child of Our in Hamburg, Berlin und München und hat an und die Peter Moores Foundation) und Time (für Chandos), eine Soloaufnahme unter der English National Opera, an der Oper der Der Kinderchor Peter Kay Children’s Choir Die Sache Makropulos. dem Titel “Where the Music Comes From – Stadt Köln, am Opernhaus von Lausanne und bietet jungen Sängern Gelegenheit, in Opern American Songs”, und Porgy and Bess. an der Los Angeles Opera gesungen. und Konzerten aufzutreten, in Werbespots Cynthia Haymon wurde in Jacksonville in Marie McLaughlin ist im Konzert mit (TV und Radio), bei Wohltätigkeits- Florida geboren. Seit ihrem Debüt 1985 bei Mark Milhofer hat an der Guildhall School of einigen der bedeutedsten Dirigenten der Welt veranstaltungen, auf Festivals und in der Welturaufführung von Thea Musgraves Music and Drama Gesang studiert und war ein aufgetreten, darunter Leonard Bernstein, Bühnenproduktion in Großbritannien, Harriet, a Woman called Moses an der Virginia Schüler von Neil Mackie und Bernard Bernard Haitink und Giuseppe Sinopoli, und Frankreich, Belgien, den Niederlanden, Opera ist sie in Covent Garden aufgetreten Dickerson. 1992 wurde er Ensemblemitglied zu ihren Aufnahmen auf Tonträger zählen Deutschland, Spanien und den USA. Neue (Bess und Mimì), in Glyndebourne, Hamburg, der Glyndebourne Festival Opera und trat in Zerlina (Don Giovanni unter Sir Neville Mitglieder werden auf Einladung und durch München und an vielen anderen angesehenen Così fan tutte und Death in Venice auf. Er hat Marriner), Despina (Così fan tutte unter James Vorsingen gewonnen, deren Teilnehmer bereits Opernhäusern. Ihr europäisches Debüt erfolgte die Titelrolle von Idomeneo und Lenski (Eugen Levine) und Alben mit Liedern von Schubert Erfahrungen mit Gesangsauftritten gemacht 1986 als Bess (Porgy and Bess) in Trevor Nunns Onegin) am Oxford Playhouse gesungen, Don und Strauss. Außerdem war sie an Video- haben, und zwar an der English National viel bewunderter Inszenierung in Ramiro (La cenerentola) am Teatro Regio in aufzeichnungen von Rigoletto, La traviata und Opera, wo Peter Kay als Children’s Adviser – Glyndebourne. Des weiteren war sie unter Parma, Tamino (Die Zauberflöte) mit der Carmen beteiligt. Kinderberater – tätig ist, in der Finchley anderem als Liù (Turandot) in Hamburg und European Chamber Opera und ist in Dido and Children’s Music Group, im New London München zu sehen, als Amor (in Glucks Orfeo) Aeneas und Curlew River mit der Opera Geoffrey Mitchell hat im Lauf seiner Children’s Choir, bei den Jennifer Lilleystone am Théâtre royal de la Monnaie in Brüssel, als Factory, in The Indian Queen und in Gesangskarriere ein erstaunlich umfangreiches Singers und an Schulen überall in London und Pamina (in der Zauberflöte) an der Opéra- Konzerten mit dem King’s Consort in ganz Repertoire erschlossen, von alter bis hin zu im Süden Englands. Bastille, als Micaëla (Carmen) mit dem Israel Europa aufgetreten. zeitgenössischer Musik. Daraus ergaben sich erst Philharmonic Orchestra und an der Seattle Dirigieraufträge von der BBC, dann eine Mit der Gründung des Philharmonia Opera sowie als Susanna (Le nozze di Figaro), Marie McLaughlin hat sich als eine der ausgedehntere Zusammenarbeit mit seinen Orchestra verwirklichte Walter Legge sein wiederum an der Seattle Opera. weltweit führenden Opernsopranistinnen Sängern, die wiederum zur Gründung des hohes Ziel, ein handverlesenes Orchester der Auf dem Konzertpodium ist Cynthia durchgesetzt. Zu ihren internationalen Geoffrey Mitchell Choir führte. Frühe Spitzenklasse aufzustellen. Das Philharmonia 28 29 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 30

Orchestra gab sein erstes Konzert unter Sir zeitgenössischen Opern-Festivals Almeida aufgetreten, war mit Carmen in Japan auf d’Inghilterra von Donizetti, das in Belgien mit Thomas Beecham im Oktober 1945 und war Opera. Tournee und leitete eine Neuinszenierung von dem Prix Cecilia ausgezeichnet wurde; für bald als eines der wahrhaft großen Orchester Parrys Tätigkeitsbereich ist nicht nur das Katja Kabanova für das Festival in Neuseeland. Chandos hat er Cavalleria rusticana, eine der Welt angesehen. Viele bekannte Dirigenten Opernhaus, sondern auch der Konzertsaal. Parry hat zahlreiche Werke für das Label preisgekrönte Tosca, und eine Aufnahme haben mit ihm zusammengearbeitet, und es ist Sein Repertoire erstreckt sich von Mozart und Opera Rara eingespielt, zuletzt Rosmonda operatischen Arien aufgenommen. und bleibt das meistaufgezeichnete Orchester der italienischen Oper des frühen der Welt. Seine Diskographie, darunter auch 19. Jahrhunderts bis zu Janácˇek, Britten und Opern für die Peter Moores Foundation/ zeitgenössischer Musik. In England dirigiert er Opera Rara, beläuft sich auf über tausend regelmäßig an der English National Opera und Aufnahmen. Der Rang des Philharmonia konzertiert mit dem Philharmonia Orchestra, Orchestra als “das führende Orchester 1996 machte er mit Così fan tutte sein Debüt Londons” ist auf seine Vitalität bei dem Glyndebourne Festival. zurückzuführen, seinen einmalig warmen David Parry gastiert häufig in Spanien, wo Klang und sein Engagement für die Vergabe er bereits mit den meisten Opernkompanien von Kompositionsaufträgen und die und Sinfonieorchestern aufgetreten ist. Die Aufführung der Musik bedeutender spanische Premiere von Peter Grimes fand unter Gegenwartskomponisten wie dem seiner Leitung in Madrid statt; 1996 dirigierte verstorbenen Witold Lutoslawski, Sir Harrison er die erste spanische Inszenierung von The Birtwistle und James MacMillan, dem Rake’s Progress (Strawinsky) und weihte zwei Gastkomponisten des Orchesters. neue Konzertsäle mit der Neunten Sinfonie von Beethoven sowie ein neues Opernhaus mit David Parry studierte bei Sergiu Celibidache Carmen ein. In Italien leitete er Ricciardo e und begann seine Laufbahn als Sir John Zoraide bei dem Rossini-Festival in Pesaro. Er Pritchards musikalischer Assistent. Er tritt in Frankreich, Deutschland, Belgien, den debütierte mit dem English Music Theatre und Niederlanden und Schweden auf, wo er eine wurde Kapellmeister an den Städtischen gefeierte Inszenierung von Britten’s Midsummer Bühnen Dortmund sowie an Opera North in Night’s Dream dirigierte. Leeds. Von 1983 bis 1987 fungierte er als Außerhalb Europas ist David Parry bei dem Musikdirektor für Opera 80 und seit 1992 ist Hongkong International Festival und mit dem er der Musikdirektor (und Gründer) des UNAM Symphony Orchestra in Mexico City 30 31 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 32

“gens ordinaires” pouvaient s’indentifier avec les (Puccini: Keeper of the Seal, 1958) mirent en Giacomo Puccini: La bohème personnages, allant jusqu’à dire sur un ton lumière le travail de ce compositeur émotif, et plutôt condescendant que la petite caissière du l’effet ne fut pas celui d’une dichotomie dans supermarché d’à-côté pourrait se reconnaître laquelle des processus cérébraux et intuitifs L’opéra La bohème conserve son titre en français de vue un véritable triomphe pour tous ceux qui dans Mimì. D’autres ont affirmé que les demeurent séparés et distincts, mais plutôt même quand on le chante en anglais. Dans son y participèrent”. Le compositeur, qui depuis son mélodies et les sentiments sont suffisants à celui d’une symbiose entre l’intellectuel et compte-rendu de la création anglaise, le critique arrivée à Londres avait été très découragé, expliquer le charme persistant de l’opéra tout l’affectif se développant en un tout. Au fil des du Times attira l’attention sur le fait qu’une retrouva le moral. L’éditeur Tito Ricordi qui comme à discréditer ses qualités réelles et son années, cette manière d’“apprendre” La bohème traduction littérale eut induit en erreur, car il ne l’accompagnait (il était paraît-il capable de effet plus profond. Il est intéressant de noter a été un enrichissement régulier. La structure s’agissait pas vraiment d’un opéra traitant de la chanter tous les rôles de l’opéra) jubilait de voir qu’en Angleterre, où le public de la première fut de chacun de ses actes, les relations qu’ils Bohème. La partition vocale anglaise était que son idée de donner la première en dehors si totalement conquis par l’opéra, un dédain entretiennent, les rapports entre les motifs, intitulée The Bohemians, et d’après ce critique, de la capitale avait aussi bien réussi. Et il avait pour l’œuvre de Puccini allait persister pendant tout s’éclaire peu à peu, comme c’est ce titre convenait mieux. S’il fit ce genre de probablement raison. En effet, quand l’œuvre très longtemps parmi de nombreux musiciens généralement le cas pour toute grande œuvre remarques, c’est sans aucun doute parce que la fut donnée à Covent Garden, elle ne suscita et mélomanes. Aussi tardivement que 1944, et d’art. Curieusement, ce processus est représentation fut donnée par la Carl Rosa qu’un intérêt médiocre, tandis que la presse la alors qu’il chantait le rôle de Rodolphe dans comparable à celui qui consiste à “apprendre” Company au Theatre Royal de Manchester, et condamna, jugeant qu’elle était une nouvelle production vivante et sans un poème comme “La terre vaine” (The Waste non pas sur la scène internationale du Covent “insuffisamment stimulante pour être mièvrerie donnée au Sadler’s Wells, Peter Pears Land) de T.S. Eliot: des bribes s’inscrivent dans Garden de Londres, et que l’œuvre fut chantée réentendue souvent”. pouvait écrire à Benjamin Britten: “C’est de la la mémoire comme les fragments d’une en anglais. Il ne trouva pas à redire à cela, mais Son succès londonnien ultérieur fut attribué musique dégoûtante”. mélodie, et peu à peu, ils se relient, tandis que il estima néanmoins que la traduction aurait pu au talent de Nellie Melba et à la beauté de son Si cette situation a changé, c’est en partie à leur signification se clarifie au fur et à mesure être meilleure. chant dans le rôle de Mimì. Cette explication cause d’une compréhension croissante et qu’elle s’approfondit. Quels que soient les défauts du texte utilisé semble tout à fait justifiée, en particulier si l’on régulière de la partition comme constituant un Prenons l’Acte II à titre d’exemple. C’est un lors de cette première représentation, le public considère que le public chic de Covent Garden ensemble composé, dont les éléments sont petit chef-d’œuvre en soi, avec sa profusion de Manchester fut enthousiasmé, et la soirée du n’était sans doute pas très enclin à réunis avec une habileté qui invite à l’analyse et d’idées mélodiques (huit d’entre-elles viennent 22 avril 1897 fit date dans l’Histoire. Le jour s’enthousiasmer pour un opéra dont l’action se fait de l’œuvre quelque chose de complètement tout de suite à l’esprit), la variété de ses textures suivant, les Londonniens pouvaient lire les situe dans une mansarde. Cependant, l’œuvre différent de la “comédie larmoyante” que ses (passages avec solo et chœur, ensemble de voix échos d’un succès retentissant. En effet, Puccini aurait probablement fini par s’imposer en détracteurs ont voulu voir en elle. Des ouvrages solistes, une voix d’enfant, une voix hors scène, avait “traité son sujet avec la délicatesse, la raison de son charme intrinsèque, ainsi qu’elle tels que la biographie critique de Mosco une fanfare militaire hors scène, tous les légèreté, la puissance et la force d’un maître”, et le fit dans le monde entier. Certains ont parfois Carner (parue en 1958), ou celui, plus court effectifs combinés ensemble), la diversité de ses “la représentation fut à presque tous les points voulu expliquer sa popularité dans le fait que les mais tout ausssi suggestif, d’Edward Greenfield “langages” (la tendresse des amants, l’excitation 32 33 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 34

de la foule de la veille de Noël, les colères et les , “vie charmante et (…) terrible”, contrastées de tout l’opéra, tandis que les réduit La bohème au personnage de Mimì, on remontrances, le charme joyeux ou le qui servit de base à l’inspiration de Puccini et longues et tristes phrases de Mimì et de pourait penser que Puccini dilua ceci en rajeunissement extatique). Mais tous ces de ses deux librettistes. Le critique du Times la Rodolphe se mèlent avec la querelle quelque chose de “tendre et triste”. En fait, la éléments, ainsi que la merveilleuse marqueterie reprit également, et cita d’autres extraits du essentiellement comique de Musetta et de gaité et la “terreur” (ou le “terrible”) se trouvent de ces nombreuses parties, demeurent en un roman de Murger. Ces “bohémiens”, dit-il, Marcel. De temps en temps revient le triste également au centre de l’opéra. Du point de sens secondaires par rapport à l’efficacité de sont des individus extrêmistes, à la fois stoïques rappel de la mansarde, avec son motif de vue structurel, la gaité compte pour presque la l’Acte dans sa position à l’intérieur de l’œuvre et dépensiers, s’adaptant aux revers de fortune: quatre notes qui lance l’opéra (et l’Acte IV) de moitié. Le “terrible” reste en suspens. Nous dans sa totalité. Il est comme le scherzo d’une Pluie ou poussière, froid ou chaud; rien ne manière si vigoureuse. Et tandis que Mimì et savons que les Bohèmes sont souvent affamés symphonie, un brillant allegro en majeur; c’est saurait arrêter ces aventuriers plein d’audace. Rodolphe quittent lentement la scène, leur et qu’ils ont parfois le cœur brisé, que Mimì est également une affirmation, au sein d’un Quand le besoin les harcèle, ils se font stoïques à musique se dissipant peu à peu, nous croyons frêle, qu’elle tousse et qu’elle risque de mourir. contexte qui se révèlera tragique, de la comédie la manière des anachorètes; mais qu’un peu que c’est de cette manière que l’acte va se Mais la terreur frappe en effet. Je ne puis croire humaine, dans laquelle on voit des individus d’argent leur tombe dans les mains, et les voilà terminer – mais brusquement, un fortissimo que quiconque, aussi raffiné et aussi familier mis en perspective comme partie du grand qui se jettent dans les caprices les plus ruineux. violent, bref et définitif éclate dans l’orchestre, avec l’œuvre soit-il, ne puisse ressentir le choc tout. Plus encore, presque toute sa musique est Les divisions bien nettes au milieu du premier tel le claquement d’une porte. de ce sinistre accord en mineur qui éclate avant “organique”, et entretient des rapports très et du quatrième acte reflètent ce schéma tout C’est en partie Puccini l’artiste, achevant sa le cri de Rodolphe “Mimì”. Les violons se étroits avec les autres actes, plus longs et plus en contrastes. Le caractère masculin du jeu scène par une référence à son début (ces deux lamentent maintenant sans retenue, et le petit graves. Ainsi, les phrases des amants opèrent loufoque et rustre de la première partie notes jouées à l’unisson qui accompagnèrent le groupe d’individus affligés réunis sur scène, se une variation délicatement insaisissable de la s’oppose au lyrisme romantique de la seconde, lever du rideau quelque vingt-cinq minutes réconfortant l’un l’autre dans leur chagrin, musique d’amour de l’Acte I. De même, le et implique un contraste supplémentaire, à plus tôt). Mais ce détail est également typique. devient à ce moment-là l’image même de schéma des mesures d’introduction confiées savoir celui qui existe entre le premier acte, Avant le coup fortissimo, le public aura presque l’humanité accablée. aux cuivres est relié à une autre ouverture, celle extatique dans son bonheur, et le quatrième, toujours commencé à applaudir, croyant que de l’Acte III, où les accords en quintes passionné dans son tragique. L’équilibre du l’acte est terminé, se concluant avec la musique © 1998 John Steane parallèles se voient privés des tierces qui leur troisième acte est plus subtil. Dans celui-ci, les douce-amère des amants. En réagissant ainsi, il donnent chaleur, et sont laissés creux et contrastes s’appliquent au matériau, en représente les critiques qui jugent Puccini Argument glaciaux tandis que l’aube neigeuse se lève sur commençant par l’évocation de la gaité et de la avant d’avoir fini de l’écouter jusqu’au bout. Et un jour chargé de craintes et d’ombres chaleur intérieures avec les voix et les bribes de en ignorant l’autre élément dans la Acte I grandissantes, et que l’espoir s’évanouit. la chanson de Musetta provenant de la taverne composition des contrastes, ils passent à côté C’est la veille de Noël dans une mansarde du Toute la trame de l’opéra est parsemée de s’opposant avec la froidure du dehors et l’image de ce qu’est fondamentalement La bohème. Quartier latin. Rodolphe et Marcel essayent de contrastes, et porte l’empreinte de la fameuse pitoyable de Mimì brisée. L’acte culmine avec Comme nous l’avons déjà dit, les mots de travailler, mais ils sont tous les deux transis par phrase du roman Scènes de la vie de bohème de le quatuor, qui représente les humeurs Murger sont: “vie charmante et terrible”. Si on le froid. Rodolphe décide de brûler le 34 35 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 36

manuscrit auquel il est en train de travailler achète un bonnet rose. Ils continuent, et Mimì croit que sa seule chance de survivre est de le Né en Cornouailles, Alan Opie a fait ses études pour faire un peu de chauffage. Leur ami est présentée aux amis de Rodolphe. Les cinq quitter, lui et son existence misérable. Prise à la Guildhall School of Music and Drama de Colline arrive. Il est bientôt suivi de deux amis s’installent à une table et commandent le d’une crise de toux, Mimì révèle sa présence. Londres et au London Opera Centre. Il garçons qui apportent de quoi manger, du vin menu et du vin. Marcel perd son sang-froid Mimì et Rodolphe décident d’attendre le commença sa carrière avec l’English National et du combustible. Entre ensuite Shaunard qui quand il aperçoit Musetta, une de ses printemps avant de se séparer. Pendant ce Opera (alors Sadler’s Wells) où il fut nommé a acheté les provisions et a encore un peu anciennes conquêtes, au bras d’un vieux et temps, Marcel, qui est rentré de nouveau dans bariton principal alors qu’il était encore d’argent. Il suggère que puisque c’est la veille riche admirateur, Alcindoro. Musetta s’installe la taverne, accuse Musetta de flirter avec un étudiant. Il y a chanté les rôles titres du Barbier de Noël, ils devraient aller dîner en ville. Au à une table et se conduit de manière étranger, et ils mettent un terme à leur liaison. de Séville et du Dr Faust de Busoni, et ceux de moment de partir, le propriétaire arrive pour extravagante. Marcel et Musetta font semblant Germont (La traviata), Eisenstein et Falke (La chercher son loyer. Ils parviennent à ne pas le de s’ignorer, mais n’en pouvant plus, Musetta Acte IV Chauve-Souris), Sharpless (Madama Butterfly), payer et s’en vont, laissant Rodolphe qui doit finit par envoyer Alcindoro faire réparer ses C’est le printemps. Rodolphe et Marcel sont à Papageno (La flûte enchantée), Sancho Pancha finir d’écrire un article. souliers qui lui blessent les pieds, et elle se jette nouveau seuls. Schaunard et Colline entrent et (Don Quichotte) et Taddeo (L’Italienne à Alger). Quelqu’un frappe à la porte. C’est Mimì, sa dans les bras de Marcel. apportent quelques maigres victuailles. Les Parallèlement à ses activités avec l’English voisine, qui vient lui demander du feu pour sa Quand l’addition arrive, les bohèmes quatres amis font comme s’ils faisaient un festin National Opera, il s’est produit avec d’autres chandelle. Elle s’évanouit presque, et laisse réalisent qu’ils ont déjà dépensé tout l’argent avec accompagnement de danses. Tandis qu’ils grandes compagnies britanniques (notamment tomber sa bougie et la clé de sa chambre. de Schaunard, aussi décident-ils de la laisser sur se réjouissent, Musetta entre brusquement et dans Luisa Miller avec l’Opera North). Sur le Quand elle se sent mieux, ils se mettent à le compte d’Alcindoro! leur dit que Mimì est en bas, mais qu’elle est plan international, il fut invité à chanter à chercher la clé. Rodolphe la trouve et la glisse trop faible pour monter l’escalier. Rodolphe se Bayreuth (Beckmesser), et aux opéras de dans sa poche, puis il fait semblant de Acte III précipite pour l’aider, tandis que les autres lui Chicago, Santa Fé, Paris, Amsterdam, Vienne, continuer à la chercher. Bientôt leurs mains se Un matin glacial de février. A la Barrière préparent un lit. Pendant que Rodolphe prend Bruxelles et Berlin. Ses nombreux rencontrent. Rodolphe se met à parler de lui, et d’Enfer, l’une des portes de la ville, les officiers soin de Mimì, Musetta lui explique que Mimì enregistrements incluent Peter Grimes (pour elle fait de même. Les amis de Rodolphe de douane fouillent les ouvriers avant de les voulait revenir dans la mansarde où elle avait été Chandos) qui a reçu un Grammy Award, l’appellent d’en-bas, mais il leur dit qu’il les laisser entrer dans Paris. Marcel travaille dans si heureuse auprès de lui. Musetta, Colline et Gloriana, The Rape of Lucretia, le rôle titre de rejoindra au Café Momus, et qu’il viendra une taverne. Mimì vient lui demander de Schaunard laissent seuls Mimì et Rodolphe. Ils Ulisse de Dallapiccola, Le barbier de Séville et accompagné de Mimì. parler à Rodolphe, car sa jalousie est en train se souviennent alors de l’amour qu’ils ont Pagliacci (réalisé par Chandos et la Peter de ruiner leur amour. Marcel accepte et lui dit partagé et des circonstances de leur première Moores Foundation). Acte II de rentrer chez elle. Mais Rodolphe dormait rencontre. Les amis reviennent l’un après Les bohèmes déambulent dans la rue dans la taverne, et quand il fait son apparition, l’autre, mais il est trop tard. Mimì est morte. Né au Pays de Galles de parents gallois et marchande devant le Café Momus. Mimì et Mimì se cache. Elle entend Rodophe dire à irlandais, Dennis O’Neill est l’un des plus Rodolphe s’arrêtent en chemin. Rodolphe lui Marcel qu’elle est gravement malade, et qu’il Traduction: Francis Marchal grands ténors de notre temps, et un éminent 36 37 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 38

spécialiste des œuvres de Verdi. Il a longtemps notamment au Metropolitan Opera de New Berkeley), Danilo (La veuve joyeuse) et le Comte Virginia Opera, elle s’est produite à Covent travaillé avec la Royal Opera House de Covent York, à l’Opéra Bastille, à Vienne, San et Rudolph (Der ferne Klang). Il s’est produit au Garden (Bess et Mimì), Glyndebourne, Garden où il a chanté les rôles de Rodolfo (La Francisco, Amsterdam et au Covent Garden de Royal Opera de Covent Garden, à l’Opera Hambourg, Munich et dans de nombreux bohème), le Duc (Rigoletto), Pinkerton, Edgar Londres dans les rôles de Giorgio (I Puritani), North, avec le Glyndebourne Touring Opera, autres salles d’opéra prestigieuses. Elle fit ses (Lucia di Lammermoor), Macduff (Macbeth), Raimondo (Lucia di Lammermoor), Basilio, au Teatro Regio de Turin, à l’Opéra de Lyon et débuts européens en 1986 dans le rôle de Bess Gustave (Un ballo in maschera), Foresto Figaro, le rôle titre de Oberto, Fiesco (Simon au New Israeli Opera. Parmi ses enregistrements (Porgy and Bess) dans la production très (Attila), Otello, Don Carlos, Radames (Aida) Boccanegra) et Sparafucile (Rigoletto). figurent Baa Baa Black Sheep, The Rescue of acclamée de Trevor Nunn donnée à et Jacopo (I due Foscari). Aux Etats-Unis, il Sa très brillante carrière de concertiste le Penelope de Britten et Dr Faust de Busoni. Glyndebourne. Elle également chanté les rôles s’est produit au Metropolitan Opera de New mène aux quatre coins du monde où il chante suivants: Liù (Turandot) à Hambourg et York et au Lyric Opera de Chicago, et a donné sous la direction de chefs aussi éminents que Andrew Shore est aujourd’hui considéré Munich, Amor (Orfeo de Gluck) au Théâtre de nombreux concerts. Carlo Maria Giulini, Zubin Mehta, Kurt comme le premier bariton bouffe d’Angleterre. royal de la Monnaie de Bruxelles, Pamina Régulièrement invité par le Bayerische Masur et John Eliot Gardiner. Parmi ses Depuis ses débuts à l’English National Opera (La flûte enchantée) à l’Opéra-Bastille, Micaela Staatsoper de Munich, ses débuts dans Un nombreux enregistrements, on peut relever de Londres en 1988 où il a chanté les rôles de (Carmen) avec l’Orchestre philharmonique ballo in maschera furent suivis d’une nouvelle entre autres Elijah de Mendelssohn, le Falstaff, Dieg (dans The Making of the d’Israël et le Seattle Opera, et Suzanna production de Il trovatore sous la direction de Requiem de Verdi, Saul et Agrippina de Representative of Planet 8 de Philip Glass), (Le nozze di Figaro), également au Seattle Opera. Giuseppe Sinopoli. Il y a également chanté Haendel, ainsi que Medea in Corinto, Orazi Papageno (La flûte enchantée), Monsieur Calcul Cynthia Haymon s’est produite en concert dans Le chevalier à la rose, Tosca, Simon e Curiazi, Rosamonda d’Inghilterra, Ricciardo (La belle Vivette), Don Pasquale et Gianni avec l’Orchestre philharmonique d’Israël sous la Boccanegra et Aida. Dennis O’Neill donne de e Zoraide et Maria regina d’Inghilterra (tous Schicchi. Il a également chanté au Kent Opera, direction de Kurt Masur, avec le London nombreux concerts, et s’est produit à travers pour le label Opera Rara). à l’Opera North, au Welsh National Opera, au Symphony Orchestra sous la direction de toute l’Europe sous la direction de chefs tels New Israeli Opera, au Glyndebourne Festival Myung-Whun Chung et de Michael Tilson que Riccardo Muti, Colin Davis et Simon William Dazeley est diplômé du Jesus College Opera, à Lyon, Montpellier, Barcelone et Thomas, avec le Cleveland Orchestra et le Rattle. Ses enregistrements comprennent Tosca de Cambridge, et a étudié le chant à la Hambourg. Parmi ses enregistrements, on peut Boston Symphony Orchestra. Parmi ses et Cavalleria rusticana (tous deux réalisés par Guildhall School of Music and Drama de noter Le Barbier de Séville et Tosca (réalisé par enregistrements figurent A Child of Our Time de Chandos et la Peter Moores Foundation), Le Londres. Il est lauréat du Decca–Kathleen Chandos et la Peter Moores Foundation) et Tippett (pour Chandos), un disque de mélodies chevalier à la rose sous la direction de Solti, La Ferrier Prize, du Richard Tauber Prize et du L’affaire Makropoulos. folkloriques américaines intitulé “Where the chauve-souris, Macbeth et La fanciulla del West. Walther Gruner International Lieder Prize. Son Music Comes From”, et Porgy and Bess. vaste répertoire inclut les rôles titres de Don Cynthia Haymon est née à Jacksonville en Considéré comme l’un des plus grands Giovanni, Owen Wingrave, Billy Budd et Eugène Floride. Depuis ses débuts en 1985 dans Mark Milhofer a étudié le chant à la Guildhall chanteurs anglais, Alastair Miles s’est produit Onéguine, Papageno (La flûte enchantée), Pelléas, Harriet, a Woman called Moses de Thea School of Music and Drama de Londres, et dans les salles d’opéra du monde entier, Mowgli (Baa Baa Black Sheep de Michael Musgrave donné en création mondiale par le avec Neil Mackie et Bernard Dickerson. En 38 39 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 40

1992, il devint membre du Glyndebourne Haitink et Giuseppe Sinopoli. Parmi ses Bas, en Allemagne, en Espagne et aux Etats- importants tels que le regretté Witold Festival Opera où il s’est produit dans Così fan enregistrements, on peut noter Don Giovanni Unis. Ses membres sont recrutés sur invitation Lutoslawski, Sir Harrison Birtwistle, et le tutte et Death in Venice de Britten. Il a chanté (dans le rôle de Zerlina) sous la direction de et sur audition, attirant des participants compositeur associé de l’orchestre, James le rôle titre dans Idomeneo et celui de Lensky Neville Marriner, Così fan tutte (dans le rôle de possédant déjà une expérience de la scène, à MacMillan. (Eugène Onéguine) à la Playhouse d’Oxford, Despina) sous la direction de James Levine, l’English National Opera où Peter Kay est Don Ramiro (La cenerentola) au Teatro Regio ainsi que des disques de mélodies de Schubert conseiller pour enfants, avec le Finchley David Parry étudia avec Sergiu Celibidache et de Parme, Tamino (La flûte enchantée) avec et de . Elle figure également Children’s Music Group, le New London commença sa carrière comme assistant de Sir l’European Chamber Opera, dans Dido and dans des enregistrements vidéo de Rigoletto, La Children’s Choir, les Jennifer Lilleystone John Pritchard. Il fit ses débuts avec l’English Aeneas et Curlew River (Britten) avec l’Opera traviata et Carmen. Singers, et dans des écoles de Londres et du Music Theatre et devint plus tard chef Factory, dans The Indian Queen de Purcell et sud de l’Angleterre. appointé du Städtische Bühnen Dortmund et en concert à travers toute l’Europe avec le La carrière de chanteur de Geoffrey Mitchell a d’Opera North. Directeur musical d’Opera 80 King’s Consort. couvert un répertoire d’une remarquable Quand il créa Philharmonia Orchestra, Walter de 1983 à 1987, il est depuis 1992 le directeur étendue allant de la musique ancienne à la Legge réalisa sa grande ambition de former un musical fondateur du festival d’opéra Marie McLaughlin est aujourd’hui considérée musique contemporaine. Elle prit son essor à orchestre de niveau international composé de contemporain Almeida Opera. comme l’une des meilleures sopranos lyriques la suite de plusieurs invitations à diriger musiciens triés sur le volet. Le Philharmonia Il poursuit une carrière très active à l’opéra du monde. Parmi ses succès internationaux que lui offrit la BBC, et à une collaboration Orchestra donna son premier concert sous la et dans les salles de concert. Son répertoire va figurent ses interprétations du rôle de Susanna plus étroite avec ses propres chanteurs. C’est direction de Thomas Beecham en octobre de Mozart et de l’opéra italien du début du au Festival de Salzbourg, au Metropolitan ainsi qu’il fut amené à fonder le Geoffrey 1945, et s’imposa rapidement comme l’un des XIXe siècle à Janácˇek, Britten et à la musique Opera de New York, au Covent Garden de Mitchell Choir avec lequel il a enregistré véritables grands orchestres du monde. De contemporaine. En Angleterre, il a fait des Londres, à Genève et à l’Opéra d’Etat de quinze opéras pour Opera Rara. Jouissant nombreux chefs d’orchestre illustres ont été apparitions régulières à l’English National Vienne, de Zerlina et d’Ilia à l’Opéra d’Etat de d’une réputation grandissante, ils ont d’autres étroitement associés avec cet orchestre qui Opera et lors de concerts avec le Philharmonia. Vienne, de Donna Elvira et de Violetta à projets avec la BBC et des maisons de disques demeure aujourd’hui le plus enregistré au En 1996, il a fait ses débuts au Festival de Glyndebourne. Elle se produit régulièrement à internationales. monde. En effet, sa discographie compte plus Glyndebourne avec Così fan tutte. Hambourg, Berlin et Munich. Elle a chanté à de mille enregistrements incluant des opéras Il se rend fréquemment en Espagne où il l’English National Opera de Londres, à l’Opéra Le Peter Kay Children’s Choir offre à de pour la Fondation Peter Moores, Opera Rara. s’est produit avec la plupart des troupes d’opéra de Cologne et à ceux de Lausanne et de Los jeunes chanteurs la possibilité de se produire à La position de “premier orchestre de Londres” et des orchestres symphoniques. Il a donné la Angeles. l’opéra, au concert, à la télévision, à la radio, du Philharmonia Orchestra résulte de sa première espagnole de Peter Grimes à Madrid Marie McLaughlin s’est produite en concert lors de galas de bienfaisance, dans des festivals vitalité, de sa sonorité chaleureuse unique et de et, en 1996, a dirigé la première mise en scène avec quelques-uns des plus grand chefs, et des productions théâtrales en Grande- sa volonté de commander et de jouer des espagnole de The Rake’s Progress. Il a aussi notamment Leonard Bernstein, Bernard Bretagne, en France, en Belgique, aux Pays- œuvres de compositeurs contemporains inauguré deux nouvelles salles de concert avec 40 41 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 42

une interprétation de la Neuvième symphonie une tournée consacrée à Carmen au Japon, et, de Beethoven et un nouvel opéra avec Carmen. en 1996, a dirigé une nouvelle mise en scène Giacomo Puccini: La bohème Il s’est également produit en Italie où il a dirigé de Katya Kabanova au Festival de Nouvelle- Ricciardo e Zoraide au Festival d’opéra de Zélande. Pesaro (consacré à Rossini), mais il s’est aussi Il a réalisé un grand nombre La bohème, si noti, mantiene il titolo francese suo soggetto con delicatezza e leggerezza, con rendu en France, en Allemagne, en Belgique, d’enregistrements pour le label Opera Rara, le anche quando l’opera italiana è cantata in un vigore e un polso da maestro”, e “la en Hollande, et en Suède où il a dirigé une plus récent étant Rosmonda d’Inghilterra de inglese. Il critico del Times, nella sua rappresentazione è stata quasi sotto ogni mise en scène très applaudie du Midsummer Donizetti, qui a remporté le prix Cecilia en recensione della première britannica, osservò aspetto un trionfo per tutti”. Puccini, che era Night’s Dream de Britten. Belgique, et c’est chez Chandos qu’il a dirigé che una tradizione letterale avrebbe fuorviato il stato assai depresso al suo arrivo a Manchester, Hors d’Europe, David Parry s’est produit au Cavalleria rusticana, son enregistrement primé pubblico giacche l’opera non aveva proprio si racconsolò. L’editore, Tito Ricordi, che lo Festival international de Hong Kong, a dirigé de Tosca et une disque d’aries operatiques avec niente a che fare con la Boemia. Lo spartito aveva accompagnato (un bello spirito, capace, a l’UNAM Symphony Orchestra à Mexico, a fait Bruce Ford. inglese per canto e pianoforte era intitolato The quanto pare, di cantare da solo qualsiasi parte Bohemians e suggerì che questo titolo, sarebbe nell’opera), era giubilante che la sua idea di stato più appropriato. La causa del suo dare questa prima esecuzione fuori Londra ragionamento stava indubbiamente nel fatto aveva funzionato tanto bene. E probabilmente che la rappresentazione aveva avuto luogo non aveva ragione: quando l’opera giunse al Covent davanti al pubblico internazionale del Covent Garden incontrò poco interesse e la stampa la Garden a Londra ma nella stagione della Carl giudicò sbrigativamente “non abbastanza Rosa Company al Theatre Royal di stimolante per essere ascoltata spesso”. Manchester, ed era stata data in inglese. Il In seguito, il suo successo nella capitale è critico non trovo in ciò nulla da obbiettare ma stato attribuito all’intervento di Nellie Melba e osservò, peraltro, che avrebbe potuto essere alla sua squisita interpretazione del ruolo di data in un inglese un po’ migliore. Mimì. Indubbiamente ciò ebbe il suo peso, Qualunque siano state le manchevolezze particolarmente presso il pubblico mondano linguistiche di quella prima rappresentazione, del Covent Garden che potrebbe non aver al pubblico di Manchester essa piacque reagito molto entusiasticamente ad un’opera immensamente e il 22 aprile 1897 fu una che si svolge in un abbaino. Ma l’opera avrebbe serata storica. Il giorno dopo (si noti, il giorno quasi sicuramente prevalso grazie al suo stesso dopo) i londinesi poterono leggere la notizia di fascino, così come fece in tutto il mondo della un successo strepitoso. Puccini ha “trattato il lirica. Un’altra ragione data talvolta per la sua

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popolarità è che sarebbe possibile per la “gente Greenfield, hanno portato intelligenza all’opera Ma tutti questi elementi, e la meravigliosa soggetti ad estremi, stoici e spendaccioni, che si comune” identificarsi con i suoi personaggi e di questo emotivo compositore – e l’effetto non maniera in cui vengono congiunti, sono – in adattano al cambiar del vento della fortuna: che – come fu detto con una certa è stato una dicotomia in cui procedimenti un certo senso – secondari all’efficacia dell’atto La pioggia o la polvere, il freddo o il caldo; nulla condiscendenza – qualsiasi commessa di cerebrali ed intuitivi venivano separati e distinti, e al posto che occupa all’interno dell’opera nel ferma questi ardimentosi avventurieri. Astemi Woolworth avrebbe potuto riconoscersi in ma piuttosto una simbiosi, un’evoluzione suo insieme. È lo scherzo di una sinfonia, un come anacoreti quando son pressati dal bisogno; Mimì. Melodia e sentimento sono stati emotiva ed intellettuale risultante in un’unica brillante allegro in tono maggiore; è anche ma se cade un pò di fortuna nelle loro mani vedi considerati sufficienti sia a giustificare entità. “Apprendere” La bohème in questo modo un’affermazione, entro quello che diverrà un come partono in quarta nelle imprese più l’imperituro fascino dell’opera sia a screditare le nel corso degli anni è stato un processo di contesto tragico, della commedia umana, in rovinose. sue qualità più forti e il suo effetto più arricchimento continuo. La struttura di ogni cui i singoli personaggi sono visti in prospettiva Le semplici, dirette divisioni del primo e profondo. E’interessante notare come in atto, la sua relazione con gli altri, i rapporti fra i quali parte di una scena più vasta. Inoltre, per quarto atto riflettono questo modello di Inghilterra, dove il pubblico della première fu motivi, vengono tutti scoperti gradatamente, gran parte del tempo (anche se non sempre) la contrasti. I mascolini lazzi e rozze facezie della conquistato dall’opera così decisamente, un come generalmente avviene in una grande opera musica è “organica”, strettamente congiunta al prima metà contrastano con il romantico disamore verso la musica di Puccini in generale d’arte. Stranamente (così può sembrare) è un corpo degli altri atti, più lunghi e più seri. In lirismo della seconda e ciò implica di per se un abbia prevalso così a lungo presso tanti processo paragonabile a quello di “apprendere” tal modo le frasi degli amanti formano ulteriore contrasto, con il primo atto delirante musicisti e musicofili. Persino così tardi come il poema di Eliot, The Waste Land: schegge si un’elusiva variazione sulla musica amorosa nella sua gioia, il quarto frenetico nella nel 1944 Peter Pears scrisse a Benjamin Britten attaccano alla memoria come frammenti di una dell’Atto I. Persino il disegno delle battute tragedia. Nel terzo atto gli equilibri sono più “È musica sporca”: stava cantando Rodolfo in melodia, e gradatamente si congiungono, il loro introduttive degli ottoni è connesso ad un’altra sottili. Qui i contrasti sono intessuti nel una nuova, nient’affatto sentimentale significato chiarificandosi con il loro sequenza introduttiva, quella dell’Atto III, dove materiale, a cominciare con l’evocazione di produzione del Sadler’s Wells – ciononostante approfondimento. gli accordi paralleli non hanno nota centrale a calore interno ed allegria, con le voci e i se ne sentiva, in un certo senso, contaminato. Si prenda, ad esempio, l’Atto II. È un riscaldarli ma restano vuoti e freddi come l’alba frammenti della canzone di Musetta che si Se ciò è cambiato si deve in parte ad un piccolo capolavoro di per se, con la sua nevosa del giorno in cui i timori allungano la sentono venire dall’osteria contrapposti al regolare, crescente apprezzamento della profusione d’idee melodiche (otto vengono loro ombra crescente e le speranze svaniscono. freddo esterno e alla patetica figura della composizione vista come un tutto, i cui subito alla mente), la varietà del tessuto L’intera costruzione dell’opera è trafitta da stravolta Mimì. L’atto viene al culmine nel elementi si uniscono con una maestria che (passaggi corali e solistici, voci sole in contrasti, recando i’impronta della famosa frase quartetto che rappresenta i modi contrastanti impegna la mente analitica e ne crea qualcosa di concertato, la voce di un bambino o una voce nel romanso di Henri Murger, Scènes de la vie dell’intera opera, mentre le lunghe ed accorate totalmente diverso dalla comédie larmoyante fuori scena, banda militare fuori scena, tutte le de bohème, dal quale Puccini e il suo librettista frasi di Mimì e Rodolfo si uniscono alle percepito dai suoi denigratori. Libri quali la forze unite), il raggio della “lingua” (la presero la loro ispirazione: “Una vita allegra ma esclamazioni essenzialmente comiche e biografia critica di Mosco Carner (1958) e il più tenerezza degli amanti, l’eccitazione pre- terribile”. Fu un argomento sollevato anche dal declamatorie di Musetta e Marcello. Spesso breve ma non meno suggestivo Puccini, Keeper natalizia della folla, sfuriate e rimostranze, critico del Times che citò ulteriormente da riapppare uno sconsolato ricordo dell’abbaino, of the Seal (pure del 1958), di Edward melodioso incanto e ringiovanimento estatico). Murger. “Questi bohemiens”, disse, “sono con il motivo di quattro note che tanto 44 45 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 46

vigorosamente mette in moto l’opera (e l’Atto hanno fame e spesso sono infelici; che Mimì è uscire arriva il padrone di casa che esige essere indifferenti l’uno all’altra, ma alfine IV). E mentre Mimì e Rodolfo lentamente fragile, tossisce e rischia di morire. Ma il l’affitto. Riescono ad evitare di pagare e vanno Musetta manda via Alcindoro, ordinandogli di escono di scena e la loro musica gradatamente terrore colpisce. Non credo ci sia nessuno, per via, lasciando Rodolfo che deve finire un andare a farle accomodare le scarpe che le sono si affievolisce, si potrebbe pensare che l’atto sottile ed intima che possa essere la sua articolo. strette, e si getta fra braccia di Marcello. finisca qui – ma improvvisamente compare un conoscenza dell’opera, che non senta lo shock Viene bussato alla porta. La vicina di Quando arriva il momento di pagare il fortissimo dell’orchesta, rumoroso, brusco e di quel brullo accordo minore prima Rodolfo, Mimì, è venuta a chiedergli del fuoco conto, gli amici si accorgono di aver già speso definitivo come lo sbattere di una porta. dell’angosciato grido del povero Rodolfo: per la sua candela. Entrando è sul punto si il denaro avanzato a Schaunard e così il conto In parte questo è Puccini, l’artista, che “Mimì”! Il lamento dei violini, ormai senza più svenire e lascia cadere la candela e la chiave della viene lasciato a carico di Alcindoro! completa la sua scena con un riferimento al suo freno, ed il gruppetto delle persone in scena, sua stanza. Quando si è ristabilita i due si inizio (quelle due note all’unisono, ta-tum, che rincantucciate, che si consolano a vicenda nel mettono a cercare la chiave. Rodolfo la trova ma Atto III hanno alzato il sipario circa venticinque minuti dolore, divengono, in quell’istante, il ritratto se la infila in tasca pretendendo di continuare a Alle mura della città, la Barrière d’Enfer, in una fa). Prima di quel colpo sbattuto di fortissimo il stesso di un’umanità abbattuta della disgrazia. cercarla. Le loro mani non tardano a toccarsi. fredda alba di febbraio, i doganiere pubblico certamente avrebbe quasi sempre Rodolfo le parla di se e lei fa altrettanto. Gli perquisiscono gli operai che entrano in città. cominciato ad applaudire, pensando che l’atto © 1998 John Steane amici chiamano Rodolfo dal fondo delle scale, Marcello sta lavorando in un’osteria e Mimì è fosse finito, uscendo alla spicciolata con la ma lui risponde che andrà a incontrarli al Caffè venuta a chiedere a lui di parlare a Rodolfo la musica tenera-triste degli amanti. Con ciò La trama Momus portandosi dietro Mimì. cui gelosia sta rovinando i loro rapporti. sarebbe stato rappresentativo dei critici di Marcello acconsente e la manda a casa. Puccini che lo criticano prima di averlo Atto I Atto II Nell’osteria Rodolfo si è appisolato; quando si ascoltato fino in fondo. E trascurando l’altro È la vigilia di Natale in un abbaino nel Gli amici vagano per i banchini del mercato sveglia ed esce Mimì si nasconde vicino elemento nella mescolanza di contrasti si Quartiere Latino di Parigi. Rodolfo e Marcello fuori del Caffè Momus. Andando verso il Caffè all’osteria. Dal suo nascondiglio ascolta perdono gran parte di quello che La bohème tentano di lavorare ma hanno tutti e due molto Rodolfo e Mimì si fermano e Rodolfo compra Rodolfo che dice a Marcello che Mimì è molto essenzialmente è. I termini di Murger, si freddo. Rodolfo decide di bruciare il a Mimì una cuffietta rosa. Continuano a malata e che, a suo parere, la sua sola ricordi, erano “allegra ma terribile”. Se manoscritto a cui sta lavorando per generare camminare e Mimì viene presentata agli amici probabilità di sopravvivere sta nel lasciarlo, pensiamo alla Bohème come Mimì si potrebbe un po’ di calore. Arriva il loro amico Colline e di Rodolfo. I cinque si siedono insieme al abbandonando la sua vita di privazioni. Mimì supporre che Puccini avesse diluito questa frase poco dopo giungono due ragazzetti con del Caffè e ordinano da mangiare e da bere. rivela la sua presenza con un attacco di tosse. come “dolce ma triste”. In effetti, l’allegria e il cibo, vino e combustibile. A loro fa seguito Marcello si accalora quando vede Musetta, una Mimì e Rodolfo decidono di non separarsi fin terrore (ovvero, il “terribile”) sono anch’essi al Schaunard che ha comprato le provvigioni; gli sua antica fiamma, che passa con Alcindoro, quando non sia arrivata la primavera. Frattanto fulcro dell’opera. Strutturalmente l’allegria ne è avanzato un po’ di denaro e suggerisce che, un vecchio e danaroso ammiratore. Musetta Marcello, che è rientrato nell’osteria, accusa occupa quasi la metà. Il “terribile” è in essendo la vigilia di Natale, potrebbero andare prende un tavolo e ordina con grande Musetta di civettare con uno sconosciuto e i giacenza. Sappiamo che i bohemiens spesso a mangiare fuori. Mentre sono pronti per prodigalità. Marcello e Musetta fingono di due terminano la loro relazione. 46 47 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 48

Atto IV Fledermaus); Sharpless (Madama Butterfly); Metropolitan Opera e la Chicago Lyric Opera e ovunque ad esibirsi con direttori quali Carlo È primavera e Rodolfo e Marcello sono di Papageno (Il flauto magico); Sancho Panza (Don in numerosi concerti. Maria Giulini, Zubin Mehta, Kurt Masur e nuovo soli. Schaunard e Colline arrivano con Chisciotte) e Taddeo (L’italiana in Algeri). È spesso ospite della Bayerische Staatsoper di John Eliot Gardiner. I suoi numerosi dischi del magro cibo e i quattro amici pretendono di Contemporaneamente alla sua attività con la Monaco di Baviera dove il suo debutto nel Ballo includono Elijah di Mendelssohn, il Requiem di fare una cenetta con musica e balli. Mentre English National Opera, Alan Opie ha preso in maschera è stato seguito da un nuovo Verdi, Saul e Agrippina di Handel, così come stanno divertendosi entra d’impeto Musetta parte alle rappresentazioni di altri principali allestimento de Il trovatore con Giuseppe Medea in Corinto, Orazi e Curiazi, Rosmonda con la notizia che Mimì è giù di sotto, troppo teatri britannici (fra le quali, Luisa Miller, per Sinopoli, e dalla sua partecipazione a Der d’Inghilterra, Ricciardo e Zoraide e Maria regina debole per salire le scale. Rodolfo si precipita Opera North), mentre la sua carriera in campo Rosenkavalier, Tosca, Simon Boccanegra e Aida. d’Inghilterra (tutti per Opera Rara). ad aiutarla e gli altri le preparano un letto. internazionale lo ha portato a Bayreuth Dennis O’Neill conduce inoltre un’intensa Mentre Rodolfo si occupa di Mimì Musetta gli (Beckmesser) e si è estesa alle stagioni liriche di attività concertistica ed ha cantato in tutta William Dazeley si è laureato presso Jesus spiega che Mimì aveva voluto tornare Chicago, Santa Fe, Parigi, Amsterdam, Vienna, l’Europa con direttori quali Riccardo Muti, Sir College, Cambridge, e ha studiato canto alla nell’abbaino dove era stata tanto felice con lui. Bruxelles e Berlino. I suoi numerosi dischi Colin Davis e Sir Simon Rattle. La sua Guildhall School of Music and Drama. I premi Musetta, Colline e Schaunard lasciano soli includono Peter Grimes (per Chandos, vincitore discografia include Tosca e Cavalleria rusticana da lui conseguiti includono il Decca–Kathleen Rodolfo e Mimì, ed i due ricordano l’amore del premio Grammy Awards), Gloriana, The (ambedue per Chandos/Peter Moores Ferrier Prize, il Richard Tauber Prize e il che li aveva uniti e il loro primo incontro. A Rape of Lucretia, il ruolo di protagonista Foundation), Der Rosenkavalier, diretta da Walther Gruner International Lieder Prize. Il poco a poco gli amici ritornano ma è troppo nell’Ulisse di Dallapiccola e il Barbiere di Siviglia Sir Georg Solti, Die Fledermaus, Macbeth e La suo esteso repertorio lirico comprende la parte tardi. Mimì è morta. e Pagliacci (per Chandos/Peter Moores fanciulla del West. di protagonista in Don Giovanni, in Owen Foundation). Wingrave, in Billy Budd e in Eugene Onegin, Traduzione: Marcella Barzetti Alastair Miles, riconosciuto in campo Papageno (Il flauto magico), Pelleas, Mowgli Nato nel Galles da genitori irlandesi–gallesi, internazionale quale uno dei preminenti (Baa Baa Black Sheep di Michael Berkeley), Alan Opie è nato in Cornovaglia e ha studiato Dennis O’Neill è tenore di fama mondiale e cantanti britannici, ha cantato in teatri lirici di Danilo (La vedova allegra) e il Conte e Rodolfo alla Guildhall School of Music and Drama e specialista del repertorio verdiano. Da anni è tutto il mondo, fra i quali la Metropolitan (Der ferne Klang). Ha cantato per la Royal presso il London Opera Centre. Ha iniziato la legato alla Royal Opera House Covent Garden Opera House, l’Opéra national de Paris, la Opera, Opera North, Glyndebourne Touring sua carriera con la English National Opera dove i suoi ruoli hanno incluso Rodolfo (La Bastille, e a Vienna, San Francisco, Amsterdam Opera, Teatro Regio di Torino, Opera de Lyon e (allora Sadler’s Wells) dalla quale fu ingaggiato bohème), il Duca (Rigoletto), Pinkerton ed alla Royal Opera House Covent Garden. I New Israeli Opéra. I suoi dischi includono Baa quale primo baritono quando era ancora (Madama Butterfly), Edgar (Lucia di suoi ruoli hanno incluso Giorgio (I Puritani), Baa Black Sheep, The Rescue of Penelope di studente. Fra i ruoli che ha cantato per questa Lammermoor), Macduff (Macbeth), Gustavo Raimondo (Lucia di Lammermoor), Basilio, Britten e il Faust di Busoni. compagnia si citano: la parte di protagonista nel (Un ballo in maschera), Foresto (Attila), Otello, Figaro, la parte di protagonista in Oberto, Fiesco Barbiere di Siviglia e nel Dr. Faust di Busoni; Don Carlos, Radames (Aida) e Jacopo (I due (Simon Boccanegra) e Sparafucile (Rigoletto). Andrew Shore è ora riconosciuto quale il più Germont (La traviata); Eisenstein e Falke (Die Foscari). Negli Stati Uniti ha cantato per la Una felice attività concertistica lo porta insigne baritono-buffo britannico. Dal suo 48 49 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 50

debutto nel 1988 con la English National Susanna (Le nozze di Figaro) per la Seattle Opera. incluso Susanna, al Festival di Salisburgo, la Rara, per la quale ha registrato ben 15 opere. Opera i suoi ruoli hanno incluso Falstaff, Dieg In concerti Cynthia Haymon ha cantato con Metropolitan Opera e la Royal Opera House; Attualmente gode di crescente reputazione (in The Making of the Representative of Planet 8 la Israeli Philarmonic sotto la direzione di Kurt Zerlina, Susanna e Ilia per la State Opera di grazie agli ulteriore incarichi ricevuti dalla BBC di Philip Glass), Papageno (Il flauto magico). Masur; con la London Symphony Orchestra Vienna, Donna Elvira e Violetta a e dalle case discografiche internazionali. Monsieur Calcul (La belle Vivette), Don con Myung-Whun Chung e Michael Tilson Glyndebourne, e Susanna a Ginevra. Svolge Pasquale e Gianni Schicchi. Ha anche cantato Thomas, con la Cleveland Orchestra e con la regolare attivà ad Amburgo, Berlino e Monaco Il Peter Kay Children’s Choir (Coro di con Kent Opera, Opera North, Welsh National Boston Symphony Orchestra. La sua discografia di Baviera ed ha participato alle stagioni della fanciulli) offre ai giovani cantanti buone Opera, New Israeli Opera, Glyndebourne include A Child of our Time di Tippett (per English National Opera, e dei teatri lirici di prospettive in materia di opera lirica, concerti, Festival Opera, e a Lione, Montpelier, Chandos), un disco di liriche “Where the Music Colonia, Losanna e Los Angeles. annunci pubblicitari televisivi e radio, attività di Barcellona e Amburgo. I suoi dischi includono Comes From – American Songs” e Porgy and Marie McLaughlin ha cantato in concerti con beneficienza, festival e produzioni teatrali, in Il barbiere di Siviglia eTosca (per Chandos/Peter Bess. alcuni dei più famosi direttori quali Leonard Gran Bretagna, Francia, Belgio, Olanda, Moores Foundation) e The Makropulos Affair. Bernstein, Bernard Haitink e Giuseppe Germania, Spagna ed USA. I suoi membri sono Mark Milhofer ha studiato canto alla Guildhall Sinopoli; la sua discografia include Zerlina (Don stati prescelti tra adolescenti con esperienza di Cynthia Haymon è nata in Florida, a School of Music and Drama e con Neil Mackie Giovanni, diretta da Sir Neville Marriner), esecuzioni corali, previo invito ed audizione Jacksonville. Dal suo debutto nel 1985 nel e Bernard Dickerson. Nel 1992 è entrato nella Despina (Così fan tutte, diretta da James Levine) presso l’English National Opera, di cui Peter ruolo di Harriet in Harriet, a Woman called compagnia della Glyndebourne Festival Opera, e dischi di liriche di Schubert e Strauss. E’ Kay è consultente, il Finchley Children’s Music Moses di Thea Musgrave nella prima mondiale partecipando in Così fan tutte e Morte a Venezia. apparsa inoltre in video-registrazioni di Group, il New London Children’s Choir, The per la Virginia Opera, Cynthia Haymon ha Ha cantato la parte di protagonista Rigoletto, La traviata e Carmen. Jennifer Lilleystone Singers, nonché varie scuole cantato al Covent Garden (Bess e Mimì), nell’Idomeneo e quella di Lensky nell’Eugene di tutta Londra e dell’Inghiltera meridionale. Glyndebourne, Amburgo, Monaco di Baviera Onegin alla Oxford Playhouse, Don Ramiro La carriera vocale di Geoffrey Mitchell si ed in molti altri prestigiosi teatri lirici. Il suo (La cenerentola) per il Teatro Regio di Parma, distingue per il repertorio eccezionalmente Con la constituzione della Philharmonia debutto europeo ebbe luogo nel 1986 nella Tamino (Il flauto magico) con la European ampio, che va dalla musica antica a quella Orchestra Walter Legge realizzò il suo grande parte di Bess (Porgy and Bess) nell’acclamata Chamber Orchestra, Dido ed Enea e Curlew contemporanea. Tale fatto gli ha fruttato sogno di creare un complesso di classe produzione di Trevor Nunn per Glyndebourne; River per l’Opera Factory, e The Indian Queen numerosi inviti della BBC ad esibirsi nel ruolo internazionale con strumentisti selezionati altri ruoli includono Liù (Turandot) ad ed in concerti con il King’s Consort in tutta di direttore e, in seguito, un’attività più rigorosamente. L’Orchestra, che diede il primo Amburgo e Monaco di Baviera; Amor (Orfeo di l’Europa. impegnativa in sintonia con propri cantanti concerto nell’ottobre del 1945 sotto la bacchetta Gluck) al Theatre Royal de la Monnaie, nonché la consequente formazione del Geoffrey di Sir Thomas Beecham, si affermò ben presto Bruxelles e Pamina (Il flauto magico) alla Marie McLaughlin si è ormai saldamente Mitchell Choir. Dopo le prime registrazioni su come uno tra i complessi mondiali di effettiva Bastille; Micaela (Carmen) con la Israeli affermata quale uno dei principali soprani lirici disco il complesso ha potuto stabilire regolari grandezza. La Philharmonia, da tempo associata Philarmonic Orchestra e Seattle Opera, e del mondo. I suoi successi internazionali hanno rapporti di lavoro con la compagnis Musica a numerosi direttori di fama internazionale, è 50 51 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 52

senz’altro il complesso sinfonico con il maggior con la Philharmonia. Nel 1996 ha debuttato al numero di registrazioni discografiche all’attivo festival di Glyndebourne con Così fan tutte. Opera in English on Chandos (oltre mille), che includono alcune opere per la Dirige spesso in Spagna nella maggior parte Peter Moores Foundation/Opera Rara. La sua dei teatri lirici e con orchestra sinfoniche. Ha posizione di “principale orchestra londinese” è diretto la prima spagnola di Peter Grimes a dovuta all’energia, all’incomparabile intensità Madrid e nel 1996 il primo allestimento sonora e all’impegno con cui commissiona ed spagnolo della Carriera di un libertino, ha esegue opere musicale di eminenti compositori inaugurato due nuove sale di concerti con la contemporanei, come quelle del defunto Witold Nona sinfonia di Beethoven ed un nuovo teatro Lutoslawski, di Sir Harrison Birtwistle e di lirico con la Carmen. Altre tournées l’hanno James MacMillan, ospite della Philharmonia portato in Italia, dove ha diretto Ricciardo e Orchestra. Zoraide al Festival Rossini di Pesaro, in Francia, Germania, Belgio, Olanda, e Svezia dove ha David Parry ha studiato con Sergiu Celibidache diretto con grande successo Il sogno di una notte ed ha iniziato la sua carriera come assistente di di mezza estate di Britten. Sir John Pritchard. Ha fatto il suo debutto con Fuori d’Europa David Parry si è esibito al l’English Music Theatre ed è poi diventato festival internazionale di Hong Kong, con direttore stabile della Städtische Bühnen l’orchestra sinfonica UNAM a Città del Messico CHAN 3006 CHAN 3004 Dortmund e di Opera North. Dal 1983 al 1987 e in una serie di rappresentazioni della Carmen è stato direttore artistico di Opera 80 e dal 1992 in Giappone. Nel 1996 ha diretto Katya Direttore Musicale fondatore del festival di Kabanova in un nuovo allestimento per il opera contemporanea dell’Almeida Opera. festival della Nuova Zelanda. Svolge un’intensa attività sia nel teatro lirico Ha iniciso numerosi dischi per Opera Rara, sia in campo sinfonico. Il suo repertorio da va fra questi il più recente è quello di Rosmonda Mozart e l’opera italiana del Settecento a d’Inghilterra di Donizetti, che ha vinto il Priz Janácˇek e Britten e la musica contemporanea. In Cecilia in Belgio; per Chandos ha diretto Inghilterra ha diretto frequentemente alla Cavelleria rusticana, l’acclamato disco della Tosca English National Opera ed in concerti sinfonici e un disco d’arie operatiche con Bruce Ford.

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La bohème And yet that stove beside us Marcello Marcello (with comic terror) does nothing more to earn an honest living …and the woman the lighting: You’re not going to read it? You’ll freeze me. COMPACT DISC ONE than lie in idleness, just like a lord! Rodolfo Rodolfo Act I Marcello As the one becomes ashes… No, the paper in flame shall be burning; It’s a very long time since Marcello the soul to its heaven returning. In the Attic we paid his lawful wages. …the other stands and watches. (with importance) Great loss, but the world yet must bear it A spacious window from which one sees an expanse Rodolfo Rodolfo for Rome is in peril! of snow-clad roofs, on the left a stove. A table, a Of what use are those forests, But meanwhile here we’re freezing… small cupboard, a little book-case, four chairs, a all white under the snow? Marcello Marcello picture easel, a bed; a few books, many packs of Great soul! cards, two candlesticks. A door in the middle; Marcello …and we’re dying of hunger! another on the left. Rodolfo, let me tell you a thought that Rodolfo Rodolfo (giving Marcello a portion of the overwhelms me: We must have a fire… manuscript) (Curtain rises quickly. Rodolfo and Marcello – (blowing on his fingers) Let’s start with the first act. Rodolfo looks pensively out of the window. Marcello I’m simply frozen. Marcello (seizing a chair and about to break it up) works at his painting ‘The Passage of the Red Sea’ I have it! This chair will be our salvation. Marcello Rodolfo (approaching Marcello) Right! with hands nipped with cold, and warms them by (Rodolfo energetically resists Marcello’s project.) blowing on them from time to time, often changing And I, Marcello, to be candid have no faith in Rodolfo (joyous at an idea which has seized him) Rodolfo position, on account of the frost.) the sweat on my forehead. Eureka! (He runs to the table and picks up a bulky Tear it! Marcello Marcello (seated, continuing to paint) manuscript.) Marcello All my fingers are frozen. Just as if they’d been 1 This Red Sea Passage feels damp and chill to me. And light it. touching that iceberg, Marcello As if a stream down my back were flowing. touching that block of marble, the heart of false You’ve found it? (Rodolfo strikes a flint on steel, lights a candle and (He goes a little way back from the easel to look at Musetta! goes to the stove with Marcello; together they set fire the picture.) Rodolfo (He heaves a long sigh, laying aside his palette and to a part of the manuscript thrown into the But, in revenge a Pharaoh I will drown! Yes! When genius is wakened ideas come fast and brushes, and ceases painting.) furious. fireplace, then both draw up their chairs and sit (He turns to his work.) down, delightedly warming themselves.) And you? Rodolfo Marcello (pointing to his picture) Ah! Love’s a stove that squanders a lot of fuel… Let’s burn the Red Sea! Rodolfo Rodolfo (looking at Marcello) How cheerful the blaze! See how the smoke is Marcello Rodolfo lazily drifting up from …too quickly! No. Think of the smell it would make here! Marcello How cheerful the blaze! the stoves all over Paris. Rodolfo But my drama, my beautiful drama shall give us (pointing to the fireless stove) Where the man does the burning… warmth. (The door at the back opens violently and Colline 54 55 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 56

enters frozen stiff, stamping his feet and angrily Marcello (to Colline) Colline Marcello (incredulously) throwing on the table a bundle of books tied up in a Hush, not a whisper. How fragile the drama we cherished! They’re pieces of tin! handkerchief.) (Rodolfo tears up the manuscript and throws it on Marcello Schaunard (showing one to Marcello) Colline the fireplace, the flame revives. Colline moves his They crackle, they curl up; and die! Are you deaf? Are you blind? Surely the day of judgement would seem to be chair nearer and warms his hands, Rodolfo is Colline and Marcello Whose face do they show? dawning! standing near the two with the rest of the The Author! Now, down with him we cry! Rodolfo (bowing) On Christmas Eve they will not take my manuscript.) (From the middle door enter two boys, one bearing King Louis Philippe! volumes for pawning! To my monarch I bow. (He checks himself, seeing fire in the stove.) Colline food, wine and cigars, the other a bundle of wood. 2 What are you burning? Profound and thoughtful! At the noise, the three at the fire turn round, and All four with a cry of wonder they fall upon the provisions Shall King Louis Philippe at our feet lie low? Rodolfo (to Colline) Marcello Solemn and wise! borne by the boys and deposit them on the table; (They place the money on the table. Schaunard Quiet! You’re watching my drama… Colline takes the wood and carries it near the Rodolfo continues to recount his good luck; the others do not Marcello stove.) listen to him, but go on arranging everything and …in action. In that blue smoke my drama is dying full of the ardent yearning of love! Rodolfo (surprised ) putting wood on the stove.) 3 Colline Firewood! Schaunard Colline Indeed I find it sparkling! Marcello (surprised) Now I’ll explain; this gold here, or rather silver What fiery pages! Rodolfo Cigars! has its own noble story. Marcello Brilliant! Colline (surprised) Marcello There, those were kisses! Colline Bordeaux! Let us heat up the furnace! Rodolfo It’s too short-winded. Rodolfo, Marcello and Colline (enthusiastically) Colline Three acts at once I desire to hear. Rodolfo So the luxury of Christmas So much cold has it suffered. (He throws on the fire the remaining manuscript.) Brevity’s deemed a virtue. we are fated yet to know. Schaunard Colline (taking the chair from Rodolfo) Colline (Exeunt the two boys.) When an English milord! Lord or a duke Only the daring can dream such visions. Your chair if you’ll permit me. Schaunard (enters with a triumphant air, throwing or something, required a musician. Marcello Rodolfo, Marcello and Colline some coins on the ground) Marcello (throwing Colline’s books from the table) I cannot stand these endless intermissions. Dreams that go up in flames just like that. Take these as a token: Off! Hurry! (The fire dies.) the Bank of France is broken. Let us set up the table! Rodolfo (taking another portion of the manuscript) Marcello Colline (picking up the coins) Schaunard Here is the next act. Ye Gods! See the fire’s nearly perished! Collect them! Collect them! I fly there! 56 57 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 58

Rodolfo A tiny piece of parsley What are you doing? Marcello Where is the food? and like Socrates he died. (With a solemn gesture he extends his hand over the Who is that? pie and prevents his friends from eating it, then Colline Rodolfo Benoit takes the eatables from the table, and puts them in There! Brilliantly lightens the room into splendour. Benoit. the cupboard.) (They make up a great fire in the stove.) Marcello (puts the two lighted candles on the table) No! Dainties of this kind Marcello Here are the candles. are to be saved for later, That’s the voice of the landlord! Marcello saved for a morrow Here! Colline (They put down their glasses.) What lovely pastries! full of gloom and sorrow. Schaunard Why dine at home Schaunard And I’m admitted. Marcello on this the eve of Christmas Bolt the door quickly! He greets me, then I ask him. No cloth here on the table? when in the Latin quarter’s busy streets cafés Rodolfo will offer all your fav’rite dishes. Colline (calling towards the door) (They arrange the viands, while Rodolfo lights the An idea. And when the luscious smells of cooking will fill No-one at home. other candle.) the air Colline and Marcello Schaunard with tempting odour, Colline The Paris evening news. I’ve locked it. Here’s some roast beef. there, singing joyously, pretty girls will gather. Rodolfo Benoit (off-stage) Marcello Excellent paper! (Rodolfo, Marcello and Colline surround I want just one word. And here’s a pastry! Schaunard merrily.) One eats a meal and swallows news together. Schaunard (After consulting his friends he goes and Schaunard (Arranging the newspapers as a table-cloth, Rodolfo, Marcello and Colline opens the door.) ‘When shall we start the lessons?’ Rodolfo and Marcello bring the four chairs to the On this merry Christmas Eve. Just one! He answers ‘Right away!’ table while Colline busies himself about the Schaunard Benoit (enters smiling, showing a paper to ‘Just look there’; pointing upstairs to a parrot in eatables.) Girls who are looking for a student lover! Marcello) its cage, You must be more religious my friends, I beg you. he commands me ‘You must play until (Seeing that no one is listening, he grasps Colline as Rent. he passes with a plate.) It’s fine to drink here, that bird has expired.’ And so it was: Marcello (receiving him with great cordiality) Colline but we’re dining out! three days I played and yelled. (Rodolfo locks the door, then all go to the table and Hallo! Give him a seat, friends. I use all the charm of my masculine perfection, Who? pour out wine; there are two knocks at the door; Rodolfo to captivate attention… Schaunard they are all surprised.) Quickly. I tempt the bird with parsley… The devil take the lot of you to Hades. and then his wings out-spreading, (seeing the rest in the act of commencing to eat the Benoit (off-stage) Benoit (defending himself ) the parrot opened his beak, cold pie) 4 Hello! Do not trouble, I’d like to… 58 59 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 60

Schaunard (with gentle firmness insists on his Rodolfo, Marcello, Shaunard and Colline Colline Rodolfo sitting down) (all touching Benoit’s glass) You’re very frank I’m sure. He’s quite discerning. There now. Here’s to your good health, sir! Marcello (lowering his voice and in a mischievous Marcello Marcello (offering Benoit a glass of wine) (They sit and drink; Colline takes the stool near the tone) Her hair was red and curly. Some wine sir? easel, and sits down also.) The other evening at Mabille they caught him Aflame with passion he seizes her and tames (Benoit, Rodolfo, Marcello and Schaunard seated. Benoit (addressing Marcello) with a girl in his arms. her. Colline standing) To you I come as the quarter now is ended. Benoit (uneasy) Benoit (with increasing exultation) You had promised… Benoit Me? I’m ancient, but I’m sturdy. Marcello (showing Benoit the money on the Thank you! Marcello Rodolfo, Schaunard and Colline (with ironical table) gravity) Rodolfo and Colline And I shall keep my promise. Deny it! Your health! Flaming with love he teases her and shames Rodolfo (with amazement, aside to Marcello) Benoit her. Schaunard What’s this? The chance came. Drink up! Marcello Schaunard (aside to Marcello) Marcello (flattering him) To him she yields her maiden’s innocence. You blockhead. (All drink. Benoit puts down his glass and turns to She was lovely. Benoit (confidentially) Marcello showing him the document.) Marcello (to Benoit, ignoring the other two) Benoit (half-drunk suddenly) I was a timid youth Benoit You’ve seen it? Then lay Delightful! but now I’m getting even. You know, and my It’s the quarter’s rent I call for. all care aside, sir, and join our friendly circle. one delight (resting his elbows on the table) Schaunard (He slaps him on the shoulder.) is a merry lady… You know… Marcello (ingenuously) Tell me how old you are, Old rascal! Old knave! I do not like a woman Glad to hear it. my dear m’sieur Benoit… who is a mound of lard Rodolfo or whose face is too round and moon-like, Benoit Benoit Old rascal! And therefore… My age? Spare me, I pray! but skinny, downright skinny, No, oh no! Colline (He slaps him on the shoulder.) It is a thin woman’s satisfaction Schaunard (interrupting him) Rodolfo Vile seducer! to drive us to distraction. Another glass sir? Our own age, less or more? Full of whining and kisses Benoit Benoit Marcello as for instance my misses… Casanova! Don Giovanni! Thank you! Much more, very much more. (Marcello bangs his fist down on the table and rises; Rodolfo and Colline (raising their glasses) (While they make Benoit chatter, they fill up his Benoit (laughing) the others follow his example; Benoit looks at them Your health! glass as soon as it is empty.) Ha! Ha! in bewilderment.)

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Marcello Marcello, Schaunard & Colline (pushing Benoit Rodolfo (noise as of one falling) This man is married outside the door) 5 I’ll stay here, Colline (crying out) yet harbours lustful Be silent! Out, your lordship, I must complete the article Devil take it. desires. Out you go! for my new journal ‘The Beaver’. (They all stand at the door, looking towards the Rodolfo Schaunard and Colline Marcello landing of the staircase.) Colline, are you dead yet? For shame! Be quick then. We wish your Lordship a pleasant Christmas Eve. Colline (in the distance from the bottom of the Rodolfo (laughing) Ha! Ha! Ha! Ha! Rodolfo staircase) Five minutes only. I’ve not much to do! His vile pollution Marcello No, not yet. empoisons our honest That has settled the rent! Colline Marcello (further off ) abode. Schaunard We will be waiting at the porter’s lodge. Come quickly! Schaunard and Colline And now off to Momus where dinner awaits. Marcello (Rodolfo shuts the door, puts down the candle, clears Out! Marcello We’ll shout if you don’t hurry. a corner of the table, places on it pen and paper, (Benoit staggers to his feet and tries in vain to Long live the spendthrift! Rodolfo then sits down and sets himself to write after having speak.) Schaunard Five minutes only. put out the other candle which had remained burning. He writes, breaks off, thinks, turns again Marcello Now let’s share out the loot. Schaunard to write. He is restless, destroys the writing and With perfume we must fumigate! You must shorten the Beaver’s growing tale! (They divide the money on the table.) throws down the pen.) Colline (Rodolfo takes a light from the table and goes to Rodolfo and Colline Rodolfo (to himself ) Drive him out, the reprobate. open the door; Marcello, Colline and Schaunard go Share it out. 6 out and descend the staircase.) No inspiration. Schaunard Marcello (holding out a cracked mirror to Colline) (There is a timid knock on the door.) Morality offended drives you from us. Girls await you there, angels from heaven. Marcello (off-stage) Who’s there? Now you are rich, to decency pay tribute. Look to the staircase! (They surround Benoit, and gradually push him to Keep close to the handrail! Mimì (off-stage) the door.) Bear, go and get your hair cut! Excuse me. Colline Rodolfo (on the landing near the open door Benoit holding up the candle) Rodolfo (rising) I say… I say… I’ll scrape my first acquaintance It’s a lady! this very day with some tonsorial artist. Go slowly! Rodolfo and Colline And bravely I’ll surrender to Colline (off-stage) Mimì Be silent. the outrage of the razor. Let’s go… Infernal darkness. My candle, would you kindly light it. Benoit (more and more bewildered) Colline, Schaunard and Marcello (humorously) Schaunard (off-stage) Rodolfo (running to open the door) Sirs, I beg you! Let’s go! May the porter be damned! Surely. 62 63 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 64

Mimì (standing at the door with an extinguished Rodolfo Rodolfo (He accompanies her to the door.) Mimì (with politeness, and advancing cautiously) candle and a key) It is very cold here, come near the fire I beg you. Well good evening. Please forgive your tiresome neighbour. Oh, thank you. (Mimì makes signs in the negative.) (He returns suddenly to the table.) Rodolfo (turning where he hears the voice) One moment… A little wine… Rodolfo Nothing, I assure you! Mimì (outside) Come in for just a moment. Mimì 7 Mimì Thank you! Oh! How dreadful! (She re-enters, but stops on the Mimì threshold of the door which remains open.) Please forgive your tiresome neighbour… No, I cannot. Rodolfo (He gives her a glass and pours out the The key of my poor attic! Rodolfo wine.) Where can I have left it? Do not mention it, I beg you. Rodolfo (pressing) For you. I beg you, enter. Rodolfo Mimì (Mimì enters, but is seized with a fit of coughing.) Mimì Come, don’t stand in the doorway; Look for it. What is the matter? Not too much, please! the draught there will blow out your candle. (She looks for the key on the floor, sliding her feet Mimì (coughs) Rodolfo (Mimì’s candle goes out.) over it.) It’s nothing. Like this? Rodolfo Mimì Mimì I’m looking! Rodolfo Oh heavens! Light it again for me. You’re pale and trembling. Thank you! (She drinks.) (He knocks against the table, deposits his candlestick Rodolfo (He runs with his candle, but as he nears Rodolfo and searches for the key with by patting his hands Mimì the door his light too is blown out and the room So young and so lovely. on the floor.) I’m exhausted, it’s the staircase… remains in darkness.) (She swoons, and Rodolfo has hardly time to support Mimì (Rising, she looks for her candlestick.) Good lord! Mine has gone out too. Mimì Now please allow me to light my candle. Where can it be? her and place her on a chair while she drops her Mimì (Groping about, she reaches the table and I’m feeling better. Rodolfo (He finds the key; and lets an exclamation candlestick and key.) deposits the candlestick.) escape.) Rodolfo (embarrassed) Rodolfo Ah! And the key, where can it be? Ah! What can I do to help her? Ah! This! Must you go now? Rodolfo (He finds himself near the door and fastens (He goes to fetch water and sprinkles it on her face. Mimì Mimì it.) Looking at her with great interest) Have you found it? Yes. What a nuisance! How very pale her face is! Rodolfo (He suddenly checks himself and puts the (She revives.) (He sees the candlestick on the floor, picks it up, Mimì key in his pocket.) Do you feel better? relights it and hands it to Mimì without speaking.) I’m so sorry. No! Mimì Mimì (She prepares to go.) Rodolfo Mimì Yes! Thank you. And good evening. Where can it be? I thought you… 64 65 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 66

Rodolfo In dreams and fond illusions Are you listening? Marcello I thought so too! or castles in the air… Rodolfo (moved ) Hullo! D’you hear us? Mimì (She searches by feeling.) Richer is none on earth than I! Yes. (At the shouts of his friends Rodolfo is annoyed.) Don’t dawdle! Found it? Two lovely eyes have stolen Mimì Rodolfo ev’ry precious possession from I’m always called Mimì, Colline Not yet! my wealth of hidden treasures. but I don’t know why! Come on scribbler! (He pretends to search; but guided by Mimì’s voice Your roguish eyes have robb’d me, All by myself Schaunard and movement, tries to approach her. Mimì stoops of all my dreams bereft me, I have my frugal supper; Hurry up there idler! dreams so fair yet so fleeting, I go to Mass quite seldom to the floor, continually feeling. At this moment (Getting more annoyed, Rodolfo finds his way to the Rodolfo approaches her, and stooping, his hand fancies that are no more… yet say my prayers each day. I’m alone but not lonely. window and opens it to answer his friends in the meets Mimì’s.) and yet I don’t regret them. courtyard; from the open window a few rays of For now is a moment of rapture, There in my room so white and cosy Rodolfo (holding Mimì’s hand ) I look above me into the sky. moonlight enter, brightening the room.) 8 a wondrous night waking! Your tiny hand is frozen! But when the frost is over, Rodolfo Let me warm it into life. Now you know all my story, I see the sunlight greet me… I have still three lines to finish. Our search is useless. In darkness all is hidden. pray tell me yours. Spring’s first awakening is all mine… But very soon now the moon will be shining Won’t you tell me who are you? Her first bright sunbeam is mine! Mimì (approaching the window a little) and in the moonlight our search will continue. May I not know? How sweet is the rose that is opening Who are they? (Mimì tries to withdraw her hand.) Mimì (She hesitates a little, but decides to speak.) every petal I cherish. Rodolfo (turning to Mimì) I beg you stay a moment 9 Yes, I’m always called Mimì, Oh what delight My comrades! while I tell you very briefly but my name is Lucia. is a flower in blossom. just who I am, what I do, and how I earn my My story is Alas! The flow’rs I make, Schaunard living. Shall I? a brief one. In my poor room The flow’rs I fashion, alas! They have no What’s all this delay? (Mimì is silent; Rodolfo lets go her hand, and when I embroider silk and satin. perfume! Marcello recoiling she finds a chair, into which she drops as if I’m content and happy, More than just this I cannot find to tell you, Why stay so long alone there? overcome by emotion.) I love to fashion I’m your tiresome neighbour Rodolfo All right, I am, but a poor poet. the rose and lily. who at an awkward moment intrudes upon you. I’m not lonely, I have company. What’s my vocation? Writing! These flowers give me pleasure We’ll meet you Chez Momus. Keep us two places; Is that a living? Hardly! as in magical accents Schaunard (from the courtyard ) 10 we will follow quickly. I’m poor but I am happy. they speak to me of love, of love in springtime… Hey! Rodolfo! Ladies of rank and fashion of fancies and of dreams and fond illusions, Colline (from below) (He remains still at the window to make sure his all inspire me with passion. such as poets, and only poets know… Rodolfo! friends have gone.) 66 67 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 68

Marcello, Shaunard and Colline (gradually Rodolfo Rodolfo Fine Hardbake! departing) I love you! You love me? Say… Excellent toffee! Momus, Momus, Momus, Chocolate pasties! Mimì Mimì (with abandon) off to Momus discreetly we must go. Rich cream and frothy! Your friends are waiting. I love you. Momus, Momus, Momus, Try our candy! And poetry will flow. Rodolfo (They go out.) Flower’s for the ladies! I am just dismissed then? Cream for the babies! (Mimì goes still nearer to the window, so that the Mimì and Rodolfo (off-stage) Fat larks and ortolans! moon’s rays fall upon her. Turning, Rodolfo sees My love! Mimì (hesitating) Look at them! Mimì as if wreathed in light and contemplates her I should like… but I dare not… Curtain Chocolate and toffee! ecstatically.) Rodolfo (gently) Chaffinches, ortolans, chestnuts all hot! Act II Rodolfo Say! Who’ll buy my carrots! 11 Lovely maid in the moonlight, vision entrancing In the Latin Quarter The Crowd (including students, workgirls, enfolded in the radiance from above; Mimì (coquettishly) Could I not come with you? Christmas Eve. A conflux of streets; where they meet, townsfolk and others) With you before me a square flanked by shops of all sorts; on one side, What a racket! So noisy! the dream that I would ever dream, now returns! Rodolfo (surprised) the Café Momus. Hold tight to me, what uproar! What? Mimì! (suggestively) Mimì and Rodolfo (with emotion) (A vast, motley crowd; soldiers, serving-maids; boys, Come, let us pass! Heart to heart for evermore… It would be far more pleasant to stay here. Come along! Outside it’s chilly. girls, children, students, work girls, gendarmes etc., …bound by love’s eternal enchantment. etc. Outside their shops vendors are bawling, Let’s go! Ah! Ho! Mimì (with great abandon) inviting purchasers. Aloof from the crowd, Rodolfo Make way there! Rodolfo (putting his arm round Mimì) Emma! Why, don’t you hear me! Love now shall rule our hearts, I’ll be close beside you! and Mimì walk up and down; Colline is near a rag shop. Schaunard stands outside a tinker’s shop Customers at the Café (shouting to the waiters now and forever lost in magic enchantment. Rodolfo buying a pipe and a horn. Marcello is being hustled who run to and fro) And then later? Mimì (yielding to her lover’s embrace) hither and thither. Sundry townsfolk are seated at a Come along! Come along! Sweet to my soul the magic voice Mimì table outside the Café Momus. It is evening. The With the beer! Waiter! of love its song is singing. I wonder. shops are decked with tiny lamps; a huge lantern A beer! Bring me a drink! Mimì and Rodolfo Rodolfo (very gracefully to Mimì) lights up the entrance to the Café.) Come here! Come along! A beer! Life’s fairest flower is love! Take my arm, my pretty maiden. Hawkers (outside their shops, shouting) Schaunard (He blows the horn) 12 (He kisses Mimì.) Mimì (giving her arm to Rodolfo) Come, buy my oranges! What a dreadful D! What a dreadful D! I obey you my lord! Fine apples! Look at them! (haggling with the tinker) And how much will it be? Mimì (disengaging herself ) Hot roasted chestnuts! It’s rather shabby, No, I beg you! (They go arm in arm to the door.) Trinkets and crosses! but sound and not expensive! 68 69 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 70

(He pays, and then carefully consigns his books to Schaunard Mimì (drawing attention to her pretty new Rodolfo (in a tone of playful remonstrance) the various pockets of his long-coat.) (He strolls about in front of the Café Momus bonnet) 13 What is it? (Arm in arm, Rodolfo and Mimì push through the waiting for his friends; and armed with his huge Do you like this bonnet trimmed with roses? Mimì pipe and hunting-horn, he intently watches the crowd and approach a bonnet-shop.) Rodolfo Are you jealous? crowd.) The colour suits your fair complexion. Rodolfo Surging onward, swift and breathless, moves the Rodolfo Let’s go. madding throng, Mimì (looking into a shop window) The man in love is always jealous, darling! Mimì as they seek the round of pleasure That necklace is so pretty! Mimì in their merry and insane endeavour! Let’s go and buy the bonnet! Rodolfo Then you love me? Rodolfo Colline (He comes up, waving an old book in I’ve an aunt, a millionairess. Rodolfo Hold tightly to my arm, love! Let’s go! triumph.) When the good God wills to take her, Ah! Yes, I love you! And you? Such a rare book and quite unique; then I shall buy you many more like this. Mimì it’s a volume of Runic rhyme! Mimì To you I’m clinging. Let’s go! (Rodolfo and Mimì, thus chatting, proceed to the I love you! Schaunard (looking pityingly over Colline’s back of the stage and are lost in the crowd. At a (They enter the bonnet shop.) Colline shoulder) shop in the rear, a shopman, gesticulating How I detest the vulgar crowd like Horace! Marcello (alone in the midst of the crowd, with a Honest fellow! frantically, stands on a stool and offers underclothes, parcel under his arm, ogling the girls by whom he is Marcello (On reaching the Café he shouts to nightcaps etc. for sale. Girls in a group surround his Schaunard jostled ) Schaunard and Colline.) shop, and gaily burst out laughing.) And when I am eating, I’m in the mood to shout and cry aloud. To supper! I can’t stand being crowded. Ho! Merry maiden! Will you play at love? Citizens Marcello (to the waiter) Let’s play together the game of buy and sell! Schaunard and Colline Now let us follow the others. We want a supper of the choicest! (accosting a girl) Rodolfo? Be careful, girls, be careful! Smartly! Who’ll give a penny for my virgin heart? So noisy! What a racket! Marcello Rue Mazarin’s the nearest! (The girl runs away, laughing.) Schaunard He’s gone to buy a bonnet! Let’s get away, I’m choking! We’re hungry! Hawkers Rodolfo (coming out of the milliner’s with Mimì) Let’s go to the Café. Let’s go to the ‘Momus’! Oranges! Salmon! Students and Work Girls Come along; my friends are waiting here. (Enter from the café Colline, Schaunard and To the Café! Come on! Let’s go! A Hawker (crossing the stage and shouting) (Marcello, Schaunard and Colline try to find an Marcello, carrying a table. A waiter follows with Who’ll buy my plums? empty table outside the Café; but there is only one, chairs. The townsfolk seated near seem vexed at the Marcello, Schaunard and Colline (to the waiter Saleswomen which is occupied by townsfolk. The three friends noise which the three friends are making, for they who hurries back into the café while another comes Buy our pretty scarf pins! glare furiously at the townsfolk, and then enter the soon get up and walk away. Mimì and Rodolfo out to lay the table) Try our toffee and our hardbake! Café.) return: she notices a group of students.) Quickly! 70 71 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 72

(Rodolfo and Mimì reach the café.) Parpignol (quite close) Schaunard Mimì Parpignol (faintly at a distance) Who’ll buy some pretty toys from Parpignol! Bring some mutton. This little bonnet trimm’d with lace and roses, Who’ll buy some pretty toys from Parpignol! Colline (Catching sight of the waiter, he shouts to Marcello (looking at the menu and giving his very pretty, do you not think it suits my fair complexion? Rodolfo (He joins his friends and introduces Mimì.) him.) orders in a loud voice) Some supper! I’ll have turkey! So many times I’ve set my very heart on such a Two places. bonnet Colline (Enter Parpignol from the Rue Dauphin, pushing a Schaunard and he discovered what my heart had longed for… So you’ve come then! barrow festooned with foliage, flowers and paper And some Rhenish! And some lobster, only shell Now one who reads the heart’s long hidden secrets lanterns. He is surrounded by a crowd of merry it! is a master, a mighty master. Rodolfo urchins.) Yes, we are here. Colline Schaunard This is Mimì, Children Bring some burgundy! A very great professor. our pretty neighbour. Parpignol, Parpignol! Here is Parpignol! Rodolfo Colline Our party is completed With his pretty barrow bright with flowers! Mimì, what would you like? Our poet writes about the art of love from deep now she has come to join us, I want the drum, I want the horse, experience. Mimì because I am the poet, Yes, yes the drum, I want the gun, I want the whip, Some ice cream. Schaunard she is my inspiration. Get away! They are mine. That’s why his lyric verse seems to have meaning. Forth from my mind poems are flowing, Schaunard (with an air of supreme importance, lilies and roses bloom at her touch, (Urchins in a group wrangle round the barrow, addressing the waiter) Marcello and in our souls awakens while their scolding mothers approach, but their Great occasion! She’s a lady! Oh sweetest dreams of hope and lover’s fancies beautiful Love! threats of punishment prove futile, for the children you trust, you hope and all seems fair and refuse to come away.) (The mothers, relenting, determine to purchase toys splendid. (Marcello, Schaunard and Colline laugh.) from Parpignol, to the intense delight of the The Mothers (with shrieks and threats) children. Parpignol moves on, down the Rue Vielle Rodolfo Marcello (ironically) My friend, the most divine of all our poems Heavens! What lofty concepts! Ah! Get away you dirty little rascals! Comédie, the children merrily follow him Why are you out so late: it’s past your bed-time! pretending to play on their toy instruments.) is that which truly teaches us to love. Colline (with a grave bow to Mimì) Get home and to your beds you wicked rascals, Children Mimì ‘Digna est intrari.’ or you shall all have a painful beating! And surely love is sweeter far than honey, more 14 Long live Parpignol! Get home, you dirty little rascals! D’ye hear me? Schaunard (with mock dignity) Buy the drum, buy the drum. than honey. ‘Ingrediat si necessit.’ (One mother seizes her boy by the ear and he begins (in the distance) Get away, it is mine! Marcello to whimper.) Colline Marcello According to taste, it’s honey or vinegar. I’ll grant only an accessit! A Boy (whimpering) Will you tell us Mimì, what loving present Mimì (All take their seats as the waiter returns.) Want a trumpet! Want a drum! did you get from Rodolfo? Oh Heavens! I have hurt him. 72 73 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 74

Rodolfo Alcindoro (breathless) Mimì (to Rodolfo) Musetta (shouting) He’s mourning for his love. Just like a valet And her clothes are lovely! Waiter, come here! Schaunard and Colline I must run here and there. Rodolfo (pointing to a plate as the waiter hurries over) Now let’s have a toast. No! No! Not for me! Angels are always naked. Waiter, come here! This plate has a horrid smell I can stand no more! of onions! Marcello Mimì (with curiosity) (She dashes the plate on the ground and the waiter Musetta (as if calling a pet dog) Give me some more! Do you know who she is? picks up the pieces.) Come, Lulu! Marcello Mimì, Rodolfo and Marcello Alcindoro (remonstrating) Schaunard 15 You had better ask me. Let’s drown our No, Musetta do be quiet! sorrows with more wine! He’s had a pretty good time, I reckon. Her first name is Musetta; Drink up! Drink up! (Musetta notices the friends seated at table outside Her surname is Temptation! Musetta (aware that Marcello will not look round ) As to her vocation, He’s not looking! All the café and motions Alcindoro to secure the table which the townsfolk have just vacated.) Like a reed in the breezes, Drink up! she will vary her love Alcindoro (in mock despair) Gently! Gently! Gently! Watch your manners! Marcello Alcindoro and her lovers without number. Bring me a bottle of Arsenic! She’s here! What’s that, outside here? And like the spiteful raven, Musetta a bird that’s most rapacious, (Enter from the corner of the Rue Mazarin an Musetta No, he’s not looking! and the food that she favours? extremely pretty, coquettish-looking young lady. She Sit here Lulu! (in a rage) How I could beat him and beat him! Is heart! Bloodthirsty raven! is followed by a pompous old gentleman who is both (Alcindoro in a state of great irritation sits down She’s drained my heart of blood. Alcindoro fussy and overdressed.) and turns up his coat-collar.) So pass the turkey pie. What’s the matter? Rodolfo (surprised to see Musetta) Alcindoro (grumbling) Musetta (disconcerted at not being noticed by her Musetta (pettishly) Oh! Musetta! Do not employ these friends) I meant the waiter! Hold your tongue! endearments in public Schaunard and Colline (in amazement) Marcello has seen me… Leave me alone. I’ll do just what I please! for heaven’s sake. Oh! Musetta! But he’s not looking, the villain! I won’t be ruled by you sir! (A waiter approaches to lay the cloth.) What a bore. Ah! Shop Women (perceiving Musetta) (getting more irritated ) Look! There! Yes! Musetta! Musetta (sits down facing the Café ) That Schaunard is laughing! Alcindoro Oh! What swagger! Now don’t be such a bore. Oh they make me so angry! Not so loud! Not so loud! They will see how I fight My! She’s gorgeous! Colline (scrutinizing Alcindoro) (He takes up the menu and proceeds to order if they push me too far. The naughty old seducer! supper.) (Musetta walks swiftly and looking about her, as if But meanwhile here I am in search of someone, while Alcindoro follows, Marcello (contemptuously) with this old doddering fool. Colline panting and testy.) With his virgin Susanna! We’ll see now! Oh! This chicken is tasty! 74 75 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 76

Schaunard Rodolfo (to Mimì) Musetta Rodolfo This wine is most delicious! I never could forgive you if And with delight, I sense their silent vows Marcello loved her once, then she left him you behaved that way to me my darling. of love in the message of their glances without a word. Work Girls and Students (Crossing the stage, they and then the joy of conquest fills my heart. She thought she’d find something better. stop short, and look at Musetta.) Schaunard Ev’ry man is my prize! See her, see her, yes, She speaks to one because Mimì (rising) there she is, Musetta! the other listens. I feel compassion for her unhappy life! And so I fill them with desire as if by magic, Ha! Ha! (nestling closer to Rodolfo) Darling! Mimì (to Rodolfo) what rapture is mine! (They cross the stage.) I love you fondly, and I am yours forever. Rodolfo (with his arm round Mimì’s waist) Some old man is dining with her; Alcindoro (Getting closer to Musetta, he tries to Why then talk about forgiveness? Mimì! there she is, Musetta! make her stop singing.) (laughing) Ha! Ha! Colline (to Schaunard ) This odious singing upsets me entirely! Mimì That other understands… Yes, that poor girl fills my heart with sorrow! Musetta Musetta but he pretends he can’t, The love’s that born of passion ends in despair! Can he be jealous of this old mummy? And you that cherish the passion that betrayed which makes her mad! That poor unhappy girl. But wait! I’ll get even, see if I don’t, you, Ah! She moves me to tears. I’ll pay him back. Musetta why should this have dismayed you? But your heart’s beating wildly! I know deep in your heart though you won’t say, Rodolfo Alcindoro I know that you’re dying of love! Most faint the love that, when ’tis wounded, may Why this behaviour… Be quiet! Do be calm! Alcindoro not make reply! Do be quiet! Mimì Schaunard (to Colline) None can revive a love that is dead! Oh, now I see that this unhappy girl here This must be the last act now! Musetta (still seated, and markedly addressing really adores your friend Marcello. Colline Marcello, who shows signs of agitation) Musetta (at the top of her voice as she confronts Who knows what will happen now? 16 As thro’ the street I wander on my way, (Schaunard and Colline rise, and standing aside, Marcello) From the tempting wiles of females the people turn to look at me, watch the scene with interest, while Rodolfo and Why don’t you look at me? I will always run away! my beauty fascinates them, all eyes admire my Mimì remain seated and continue their talk. She is pretty, I don’t doubt it, Alcindoro (believing these words to be addressed to charm, all eyes admire Marcello nervously quits his seat, and is about to go, but yet I’d rather smoke him) my charm and my grace. but is spell-bound by Musetta’s voice.) my old pipe and read some Homer! I am giving the order, dear! Marcello (to his friends in a voice half choked by Alcindoro Schaunard Schaunard emotion) What will all the people say! Soon Marcello will give in! And it’s truly stupendous! Just tie me to this chair. (Alcindoro vainly endeavours to induce Musetta to Who knows what will happen now. Colline Alcindoro (in an agony of embarassment) resume her seat at the table, where supper is now But the snare to some is pleasant Stupendous! What will all these people say? ready.) to the hunter and the prey. 76 77 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 78

See the braggart in a moment Do, I beg you! (Musetta and Marcello embrace with much fervour.) Rodolfo will give in! The fun grows Close by there is a bootshop! Musetta I’ve thirty sous I tell you! fast and furious! Hurry, quickly! Marcello! Marcello, Schaunard and Colline (amazed) Marcello will give in. Really. No more than that? Alcindoro Marcello (to Colline) What imprudence! If such a pretty woman Enchantress! Schaunard (sternly) But where’s my treasure gone? should but make an eye at you, Musetta Schaunard you’d forget your mouldy classics, He may have boots to please me! We have reach’d the finale! (They all feel their pockets which are empty; no one and you’d run to fetch her shoe! Ah! The torture! How these can explain the sudden disappearance of horrid tight shoes pinch me! (A waiter brings in the bill.) Schaunard’s money; and they look at each other in Musetta I’ll not wear them. surprise. The people hasten from the left. As the Ah! Marcello wavers, Rodolfo, Schaunard and Colline (in amazement) tattoo is still a long way off, the folks run hither, as Marcello is vanquished! Schaunard, Colline and Rodolfo The bill! if uncertain from which quarter the band will And tho’ your heart is breaking Her performance is stupendous! Schaunard approach.) you’d never let us know! Alcindoro Why the hurry? (obstinately to Alcindoro) Citizens (hastening from the right) What will all these people say? Colline I’ll have my way, so don’t you worry! Here they come! What imprudence! 17 Who had him bring it? I will do just what I like, Street Arabs so hold your tongue! I must try Musetta (She takes off her shoe and puts it on the Schaunard (to the waiter) Will they come along this way? to get rid of the old boy. table.) Let’s see. Work Girls and Students (Pretending to suffer violent pain in her foot she sits So there they are! (impatiently) Hurry! Go! (After looking at it he hands it round.) No, from there! down again.) Hurry! Oh! Say no more. Go! Rodolfo and Colline (examining the bill ) (Several windows are opened, at which mothers Alcindoro (He hides her shoe under his coat which Heav’n! with their children appear and eagerly await the Alcindoro coming of the Patrol.) What now? he hastily buttons up and exits.) Rodolfo, Schaunard and Colline Nothing short of scandal! Out with your coppers! Street Arabs ( pointing in an uncertain fashion the Musetta opposite way) Musetta! Shame! Schaunard How it’s aching, how it’s burning! They are coming down this way! Marcello Colline, Rodolfo and you, Marcello! Yes, here they come! Alcindoro Happy mem’ries not yet have you vanished Marcello What is? and nor have I forgotten you! Work Girls and Students We have no money! Musetta (coyly showing her foot) If you came knocking at my door Here they come! My foot! how, my heart would go out to you, my love, Schaunard Citizens and Hawkers (running from the back) Break it! Tear it! I can’t bear it! O my love! What’s that? Way, there, way, there! 78 79 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 80

Some Boys (from the windows) one bill out of the two. As proudly as warriors of old wreath round his fez. From the ground-floor Just let me see! (The waiter adds the two amounts together.) they go marching by! windows of the tavern facing the toll-gate, light Just let me hear! You will be paid by the man who came with me! Look at the drums go by! gleams. The plane-trees, grey and gaunt, which Mummy, just let me see! Rodolfo, Marcello, Schaunard and Colline Now the parade goes by! flank the toll-gate square lead diagonally towards Lisetta, do be quiet! (pointing to where Alcindoro went out, in comic See! There he goes, the tall drum-major bold! the two boulevards. Between each tree is a marble Papa, just let me hear! fashion) With noble pride the staff of gold bench. It is towards the close of February; snow Tonio, do have done! Yes, he will pay! he proudly twists and turns! covers all. The greatest man in France, (The crowd fills the stage; the tattoo advances (The waiter hands the two bills to Musetta.) (As the curtain rises the scene is merged in the dim gradually from the left.) The tall drum-major bold! light of early dawn. In front of a brazier are seated, Musetta (placing both bills at Alcindoro’s place) The staff of gold he proudly twists and turns! in a group, snoring custom-house officers. From the Work Girls and Students When he returns he’ll find this token of my Rodolfo, Marcello, Schaunard and Colline tavern at intervals one may hear laughter, shouts, They will come along this way! admiration. Long live Musetta, Queen of our hearts! and the clink of glasses. A customhouse official Hawkers Rodolfo, Marcello, Schaunard and Colline Glory and pride, comes out of the tavern with wine. The toll-gate is Yes, this way! When he returns he’ll find this token of her the Latin quarter hails its glorious Queen! closed. Behind the toll-gate, stamping their feet and admiration. blowing on their frost-bitten fingers, stand several Some Boys COMPACT DISC TWO street scavengers.) Now it’s coming, the parade. Crowd Hey! look out, they’re coming here! Act III Scavengers A Mother Do stand back, they’re coming here! 1 Hallo! You soldiers! Admit us! (more vigorously) Do be quiet, do have done! The Barrière d’Enfer Make way there! Wake up! Street Arabs Beyond the toll-gate, the outer boulevard is formed Rodolfo, Marcello, Schaunard and Colline Be quick and let us pass! We are the sweepers! When the patrol gets here in the background by the Orleans high-road, half See, the patrol is coming! (stamping their feet) It’s very cold here. Hallo! We let’s all go along beside it! hidden by tall houses and the misty gloom of Be careful the boy doesn’t are frozen! February. To the left is a tavern with a small open (The shop-people close their shops and come out into catch us with his darling! space in front of the toll-gate. To the right is the Customs Official (yawning and stretching himself ) the street.) Now the crowd is tremendous, Boulevard d’Enfer; to the left that of St Jacques. On Coming! to dodge him will be easy! Hawkers the right also there is the entrance to the Rue d’Enfer (He goes to open the gate; the scavengers pass Quickly! Quickly! Quickly! In that parade you see our great country’s noble leading to the Quartier Latin. through to the Rue d’Enfer. The official closes the might! (Enter from the left the military Tattoo, headed by a Over the tavern, as its sign-board, hangs Marcello’s gate again. From the tavern can be heard the clink gigantic Drum-major who dexterously twists his Musetta (to the waiter) picture ‘The Passage of the Red Sea’, while of glasses, forming an accompaniment to the song.) baton, showing the way.) And the bill – give it to me. underneath in large letters is the inscription ‘At the Voices (from within) (to the waiter who presents the bill) The Crowd (pointing gleefully) Port of Marseilles’. On either side of the door are Fill the glass! Each toast his love. Thank you! Just make And there’s the drum major! frescoes of a Turk and a Zouave with a huge laurel So fill the glass! Let each toast his love. 80 81 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 82

Each one as he drinks, as he drinks his wine, (They move off in various directions. The officials Saint Thérèse rings for matins. Day has now come; My dear Rodolfo is jealous, madly jealous. shall dream of lips made for love divine! remove the bench and the brazier. Enter Mimì from a sad murky winter’s day; sundry couples, A glance, a gesture, Tralleralle, tralleralle, tralleralle… the Rue d’Enfer: she looks about as if anxious to homeward bound, quit the tavern. Marcello comes a gift or flow’r will rouse in him suspicions, make sure of her whereabouts. On reaching the first out of the inn.) waking his wrath and anger. Musetta (from the tavern) plane-tree, she is seized by a violent fit of coughing. And then at night pretending to be sleeping, Ah! The drinker loves his glass, Marcello (amazed ) Then recovering herself, she sees the sergeant whom I feel his eyes are watching, the lover loves his lass! 3 Mimì! she approaches.) to spy upon my slumbers. Mimì Milk Women (from within) Mimì (to the Sergeant) He cries at ev’ry moment Houp-là! Houp-là! I hoped that I would find you here. ‘You’re not for me. Go find another lover.’ 2 Oh, please sir, tell me, do you know the tavern… (unable to recollect the name) where a painter is Marcello I cannot bear it. Customs Official It’s jealousy that drives him, The women for the market place! working. Yes, we’ve been here for a month; so, to pay for our lodging I know. What can I say to him Marcello? (A sergeant comes out of the guard-house, and orders Customs Sergeant (pointing to the cabaret) Musetta teaches singing to those who come here, Marcello the toll-gate to be opened.) There it is. and I am painting warriors, It would surely be better Carters (from within) Mimì here, on the house-front. if you did not live together. Houp-là! Thank you. It’s cold here. Come in now. I’m happy with Musetta, and she’s happy (A serving woman comes out of the tavern: Mimì Mimì with me, it’s joy that binds us both together… (Carts pass along the outer Boulevard, lighted by goes up to her.) large lanterns. The gloom gradually gives way to Where’s Rodolfo? Laughter, music, and song Oh! my good woman, pray do me this favour! are the flow’rs of our love! daylight.) Can you find me the painter; Marcello Milk Women (to the officials who admit them Marcello? I wish to see him! The matter is urgent! Here. Mimì through the toll-gate) Just tell him quietly that Mimì is waiting. Mimì You are right, much better to leave him. Will you help us, please, will you help us to Good morning! (The woman goes to the inn.) I cannot go inside. (They move off in various directions.) part? Customs Sergeant (to a passer-by) Marcello So many times we have tried it. But we cannot! (It stops snowing.) Eh, in that basket! Why not? You are right. Ah so right. Peasant Women (paying the toll and going on) Customs Official (after searching the basket) Mimì (in despair) To part would be best. Cheese and butter! Empty! Ah! Good Marcello! Help us! Won’t you help us, I beg you! Eggs and poultry! Marcello And you, where are you going? Customs Sergeant Marcello All right, I’ll try. I’ll go and wake him. To old Saint Michael’s. Pass! Tell me what happened. And shall we see you later? (Other folk now pass through the toll-gate and move Mimì Mimì At half past twelve! off in different directions. The bell of the Hospice Rodolfo loves me yet shuns me! Wake him? 82 83 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 84

Marcello Marcello always flirting with someone. A scented dandy Mimì He came back just before Are you sure that is true? of noble fam’ly Alas, I’m dying! the day was breaking, fell asleep tries to win her caresses. Rodolfo upon a bench there. With shoulders swaying, one tiny foot Rodolfo Yes, once before all seemed over, (motioning Mimì to look through the tavern- displaying, And my room’s like a squalid passion had fled, window) she bestows all the magic of her smile. prison cell, no fire to warm her… then her blue eyes their glory on me shed… You see him? Only the cruel night wind Love reawakened. Marcello (compassionately) wails cold and cheerless. Now the torture returns. Shall I be frank? That is simply not true. You’re coughing! She is merry and smiling, (Mimì warily approaches, to listen.) Rodolfo while remorse overwhelms me. Mimì (coughing persistently) Well, you are right, it’s not true. In vain, in vain For the fever that wracks her, Unceasingly it shakes me. Marcello I’m hiding I feel so guilty! Last night Rodolfo left me Do you wish to revive the pain that’s past? all the torture that racks me. and said to me ‘It is over!’ Marcello (eager to draw Rodolfo aside) Rodolfo (sadly) I love Mimì, she is my only treasure, I love her! What can help her? I left the house at daybreak Yes! Always! But I am frightened! then hurried here (Mimì, astonished, comes closer and closer, under Marcello Mimì (disconsolately and in tones of anguish) to find him. cover of the trees.) Change your mind then. All is over. 6 Mimì’s so sickly, so ailing! Marcello (watching Rodolfo inside the tavern) A love so dark and gloomy Alas! Alas! All is over! Ev’ry day she grows weaker. He’s waking… will only end in sadness. Life and loving, all are ended! That poor unhappy girl rising, and calls me… he’s coming. Love must bring joy and gladness For Mimì must die! is surely dying! or else it is just worthless. Wracked by incessant coughing, Marcello Mimì But you are jealous. He must not see me. her frail being is shaken, What can we do? Rodolfo in her wasted features, fev’rish fires awaken. We must help her Marcello A little. Oh our poor Mimì! Go home at once now, Marcello (Fearing Mimì may overhear them, he Mimì for heaven’s sake. Marcello tries to keep Rodolfo further off.) Rodolfo Don’t make a scene out here. Intemperate and changeable and a victim Mimì!?! Mimì’s like a flower. of vile suspicion, impatient and stubborn! Mimì Want has wasted her beauty, Rodolfo (Coming out of the inn, he hastens and to bring her back to life towards Marcello.) Mimì (aside) What’s he saying? What is he saying? What shall I do? would need far more than love. 4 Marcello, you’re outside here. Marcello (agitatedly, perceiving that Mimì is No-one can hear us. Rodolfo (with bitter irony) listening) (Mimì’s violent coughing and sobbing reveal her The time has come for me to leave Mimì. 5 Mimì is fickle-hearted, Oh our poor Mimì! presence.) 84 85 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 86

Rodolfo (rushing towards Mimì) Just one more favour. Mimì Marcello You Mimì! You here? Gather those few poor things I left Lonely in winter with death as sole companion! You are lying, and you know it. You overheard me? there behind me. Inside my trunk Yet the lovely springtime brings the glorious sun! I will teach you better manners Marcello you will find them. That small chain of gold, Rodolfo if I catch you once more flirting! the prayer book you gave me. Then she must have been list’ning! Lonely, with death as sole companion! Musetta Please put them all together safe in my apron, Yet the lovely springtime brings the glorious sun! I will do just what I like! Rodolfo I will send round to fetch them… Oh what nonsense! Surely by now you know me, Listen, under the pillow you’ll find my little (From the tavern a sound of breaking plates and I worry over nothing! bonnet. glasses is heard.) Rodolfo and Mimì Come let’s go inside. Perhaps… perhaps… you’d like to keep it to Marcello (from within) When the hawthorn bough’s in blossom (He tries to take her into the tavern.) remember our love! I can guess what you were doing. we’ve the glorious sun! Mimì Goodbye then. You were flirting with that stranger. Silvery fountains murmur… Goodbye! I wish you well! No, inside there I’d suffocate! Musetta (from within) the breezes of the evening bring hope and solace, Rodolfo (affectionately embracing Mimì) Rodolfo What d’you mean? calming human sorrow, Ah, Mimì! 8 Then it really is over. (She runs out.) You are going, you’re going, little darling. Far better to wait for spring to come again? (Musetta’s brazen laugh is heard from the tavern.) Mimì Farewell, O sweet dream of love! I’m not lonely in spring. Musetta Marcello (running to look through the window) Farewell, to our dreamy existence… Why this anger? Why this fury? Marcello (He stops on the threshold of the inn and It’s Musetta that’s laughing. Enlivened by your smiling… We’re not married yet, thank goodness! confronts Musetta.) Laughing, flirting! Ah! what a hussy! I detest that sort of lover Mimì And how you coloured I’ll not allow it! who pretends he is… ah! ah! ah!… your husband! Farewell, awaking beside you when I caught you in the corner! Mimì (disengaging herself from Rodolfo’s embrace) I shall flirt just when it suits me! when day is breaking!… You’re so frivolous, Musetta! Farewell then. Farewell to jealousy and anger! Yes, your lordship Rodolfo (surprised) Farewell suspicion! Musetta (defiantly) I shall flirt just when it suits me! What! Going? That poor fellow simply asked me: Musetta’s going away, yes, going away! Rodolfo ‘Are you very fond of dancing.’ Fare you well, Sir! Mimì Kisses. I was blushing when I answered: Good sir, farewell with all my heart. 7 To the home that she left Mimì ‘I’d be dancing all day long, Sir!’ at the voice of her lover, sad, Marcello …and all its bitter sadness. forsaken Mimì must turn back heavy-hearted. Rodolfo You shall not do as you like Miss. Once more she’ll be returning Rodolfo As comrades you’ve lilies and roses… I’m the master, don’t forget it. to tend her lifeless flowers. …which as lover and poet Mimì I’m not going to be your plaything Farewell, then, I wish you well! I rhymed with joy and gladness! Forth from each nest there comes a gentle murmur. just because you’re fond of flirting. 86 87 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 88

You’re so frivolous, Musetta! Marcello (resuming his talk) Marcello (aside) of mine continues to labour So you’re going. God be with you, 9 In a coupé? You liar, you’re pining with love. and paints on these colours I can only say good riddance. Rodolfo Rodolfo quite against my will? Fare you well Ma’am! In a carriage and pair. Back to work! And though I would be painting Farewell, Ma’am! Pray begone. She greeted me so gaily. Well, ‘Musetta!’ fields and meadows in winter or in springtime Marcello here on my canvas two bright eyes torment Musetta (She retreats in a fury; but suddenly stops.) I asked her: ‘How’s your heart?’ ‘Not beating or I Back to work. Call yourself a painter? don’t feel it, me, (They go on working.) two red lips smile upon me. Marcello thanks to this velvet I’m wearing.’ Rodolfo (He throws down his pen.) The features of Musetta haunt me still! Viper! Marcello (endeavouring to laugh) This pen is useless. Ah!… here I see Musetta, Musetta (shouting) Delighted to hear it. so fair and so alluring, I still miss her. Pig! Rodolfo (aside) Marcello (He flings away his brush.) My grief affords her pleasure What a filthy old paint brush! Marcello You can’t fool me. You’re fretting and fuming. yet my foolish heart longs to call her name, Slut! (He resumes his work.) (He stares at his canvas, and then, without Rodolfo and hold her in my arms! (He enters the tavern.) Marcello observing it, he takes from his pocket a bunch of Rodolfo (He clasps the bonnet to his heart; then Mimì (moving away with Rodolfo) Not beating. Bravo! ribbons and kisses it.) endeavouring to conceal his emotion from Marcello, Always yours forever! (He begins to paint with great vigour.) Rodolfo he carelessly questions him.) Rodolfo and Mimì And I noticed… 10 Oh Mimì, our love is over. What is the time now? We’ll be together till the spring returns. Rodolfo Oh days departed, Marcello (Roused by Rodolfo from his reverie, he Musetta? hands pale and slender and soft fragrant tresses! gaily replies.) Mimì Ah, snowy forehead! Ah, Mimì. Oh golden days Marcello Time for our yesterday’s dinner! Ah, that our winter of youth. Mimì. might last for ever! (moving off ) (From the table-drawer he takes out Mimì’s old Rodolfo Rodolfo and Mimì (off stage) Rodolfo (as he breathlessly stops writing) bonnet.) And Schaunard’s not back yet? We part no more until the spring returns. You saw her? And… you her little bonnet, (Enter Schaunard and Colline; the former carries (recovering his composure) How curious! she left you behind the day she departed, four rolls; and the latter a paper bag.) Act IV Marcello (stops painting) you recall the days of our youth and joy, Schaunard In the Attic Out in her carriage come to my heart, Here we are. (Marcello, as before, stands in front of his easel, arrayed in splendour, just like a duchess. lie close against my heart, for our love is dead! while Rodolfo sits at his writing-table; each trying to Rodolfo Marcello (putting away the ribbons and staring Rodolfo and Marcello make the other believe that he is working Delightful! anew at his canvas) Well then? indefatigably, whereas both are really only gossiping.) I’m glad to hear it. I know not how this brush (Schaunard places the rolls on the table.)

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Marcello (disdainfully) (The one and only tumbler is handed about. Schaunard (solemnly getting on a chair and raising (Moving chairs and table aside, they prepare for a Some bread? Colline, after voraciously devouring his roll, rises.) his glass) dance. They suggest various dances.) 11 Colline (Taking a herring out of the bag he puts it Rodolfo (to Colline) Unaccustomed as I am to public speaking… Gavotta. on the table as well.) What? Finished? Rodolfo (interrupting) Marcello A dish that’s worthy of Demosthenes. A herring! Colline (with an air of importance) Stop that! Minuetto. Schaunard I’ve business! Colline (taking the glass from Schaunard) Rodolfo It’s salted! The king awaits me! Stop that! No more fooling! Pavanella. Colline Marcello (eagerly) The meal is ready now! Marcello Schaunard (imitating a Spanish measure) What plot is brewing? Stop that! No more nonsense! Fandango. (Seating themselves at the table, they pretend to be Rodolfo having a fine meal.) Colline (taking the glass from Schaunard) Colline What’s going on? Give me that tumbler! I vote we dance quadrilles first. Marcello Schaunard (He rises and approaches Colline, This is a food that’s Schaunard (motioning his friends to let him speak) (The others approve.) observing with droll inquisitiveness.) fit for a banquet. With ardour irresistible What’s going on? Rodolfo Schaunard (He places Colline’s hat on the table and poetry fills my spirit… Here’s to the ladies. thrusts a bottle of water into it.) Marcello Rodolfo, Marcello and Colline (yelling) Colline (pretending to be very busy arranging a Now we must put the What’s going on? No! quadrille) champagne on ice. Colline (strutting up and down, full of self- Schaunard (complacently) I’ll lead it. importance) Rodolfo (to Marcello, offering him some bread) Then something choreographic The king requires me at his side. Schaunard (Improvising, he beats time with comic Choose, Royal Highness, may suit you… lobster or salmon? Rodolfo, Marcello and Schaunard (Surrounding pomposity of manner.) Colline, they make low curtseys to him.) (They suround Schaunard and make him get off the Lallera, lallera, la. (His offer is accepted. When turning to Schaunard, chair.) he proffers another crust of bread.) Bravo! Rodolfo (He approaches Marcello and, bowing very Colline (with a patronising air) Rodolfo, Marcello and Colline low, offers him his hand and says gallantly) Marcello Yes, yes! Oh, maiden fair and gentle! Baron, here’s a nightingale’s And then… tongue in brandy. I go to see Guizot. Schaunard Marcello (with coy bashfulness of manner, Some dancing, counterfeiting a woman’s voice) Schaunard (He politely declines, and pours out a Schaunard (to Marcello) accompanied by singing! My modesty respect, Sir, glass of water which he hands to Marcello.) Give me a goblet! (in his ordinary voice) I beg you! Thank you, too fattening! Marcello (giving him the only glass) Colline This evening, I’m dancing. It’s vintage champagne! Let’s clear the stage for action! (Rodolfo and Marcello dance a quadrille.) 90 91 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 92

Colline Rodolfo (gaily) Rodolfo (with a sweet smile) Balancez! While they beat There! some water. Ah, I’m so happy now I’m here. each other’s brains out, I feel better, so much better. Schaunard (teasing) Mimì (passionately) our fandango (Raising herself somewhat she again embraces First there’s the Chain. Rodolfo! we will finish. Rodolfo.) Colline Rodolfo (gently lowering her on to the bed) Once more new life returns to me. (Rodolfo and Marcello dance behind the duellists; Gently lie down here. No, stupid! blows fall faster. The duellists pretend to grow more Ah! beloved do not go. Mimì (embracing Rodolfo) (Rodolfo and Marcello continue dancing.) and more incensed. The door opens and Musetta Rodolfo O my Rodolfo! Please let me enters in a state of great agitation.) Oh my love, my treasure! stay with you! Schaunard (with exaggerated contempt) Once more enchant me! You’ve manners like a clown. Marcello (noticing her) Rodolfo Musetta (aside to the other three) Musetta! Darling Mimì, now and always. Colline What is there to give her? As I take it, Musetta (Rodolfo induces Mimì to lie down at full length on Any wine, or coffee? you’re insulting! 12 It’s Mimì… the bed, and draws the coverlet over her; he then Marcello (in great dejection) (rushing to the fireplace and seizing the tongs) It’s Mimì who is with me and is ailing. carefully adjusts the pillow beneath her head.) Draw your sword, sir! Nothing! There is nothing. (Through the open door Rodolfo spies Mimì seated Musetta (Taking the others aside, she whispers to Schaunard (He looks closely at Mimì .Sadly to Schaunard (taking up the poker) on the topmost stair.) them.) Ready! Colline as he takes him aside.) Rodolfo I heard them saying that Mimì had fled On guard there. In an hour she’ll be dead. Mimì? from her wealthy lover and now was almost dying. (preparing to receive his adversary’s attack) Ah, but where? Searching, searching, I met her Mimì Only blood can quench my thirst! Musetta alone just now, I feel so cold! I wish I had my muff here! She has no strength to climb up the staircase. (Rodolfo and Marcello stop dancing and burst out almost dead with exhaustion. My poor hands are simply frozen, how shall I get laughing.) Rodolfo (He rushes to Mimì; Marcello follows his She murmured ‘I am dying, them warm? example.) dying! (excitedly raising her voice) But listen! (She coughs.) Colline Ah! I want to die near him; perhaps he’s waiting… Rodolfo (He takes Mimì’s hands in his, and chafes One of us shall now be gutted! Take me to him Musetta…’ Schaunard (to Colline; they both drag the bed them.) Schaunard forward) Marcello In mine, in mine love! Go and get a stretcher ready! Let her rest here for a moment. Hush! Please do not speak, it tires you. Colline (Musetta brings a glass of water and makes Mimì Mimì Mimì And prepare a grave as well. sip it. Rodolfo and Marcello support Mimì and lead I feel so much better… It is the coughing, (Schaunard and Colline have a duel.) her towards the bed.) all here seems just the same as ever! I’m used to that, though. 92 93 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 94

(Seeing Rodolfo’s friends, she calls them by name, Rodolfo Schaunard (overcome with emotion) Rodolfo (in tender, caressing tones) when they hasten to her side.) No! No! Philosopher, you’re right. Back to her nest comes the swallow in the Good morning Marcello, Musetta (looking towards the bed) You’re right, I’ll go! springtime. Schaunard, Colline, good morning. But listen! Maybe what she has ask’d for (Schaunard looks about him; then, to justify his (He takes out the bonnet and gives it to Mimì.) You’re all here, you’re all here… will be her last request on earth, little darling! exit, he takes up the water-bottle and goes out after glad to welcome Mimì. Mimì (gaily) I’ll go and fetch the muff, I’ll come with you. Colline, gently closing the door. Mimì opens her eyes My little bonnet! Rodolfo and, seeing that all have gone, holds out her hand to Marcello (She motions to Rodolfo to put the bonnet on her Hush, Mimì, do not talk. Rodolfo who affectionately kisses it.) How good you are, Musetta! head. Mimì makes Rodolfo sit next to her and rests Mimì (Musetta and Marcello hastily go out.) Mimì her head on his breast.) I’ll speak low. Colline (While Marcello and Musetta are talking, 14 Have they left us? (Rodolfo nods.) I was not really Do you remember how we met that evening Don’t be frighten’d. he removes his over-coat.) sleeping, when by chance I came here? (motioning Marcello to approach) 13 Venerable garment, listen, but I wanted to be alone with you, love. Marcello let me tell you. Rodolfo I’ll say goodbye, for we So many things remain for me to tell you; She is good your Musetta. Yes I remember. must be parted from each other. or just one that is vaster than the ocean, Marcello (giving Musetta his hand ) I salute you, dear brother. (raising herself somewhat, with Rodolfo’s help) Mimì I know, I know. These faded shoulders never deign’d as the ocean so deep and never ending. This room was all in darkness... to bow to rich man or to mighty; (putting her arms round Rodolfo’s neck) (Schaunard and Colline mournfully withdraw. The Rodolfo often deep in these pockets You are my life, my only love, my darling, former sits at the table, burying his face in his You were anxious and frighten’d! you have sheltered in silence you are my love, and all in life I treasure! hands. The latter is a prey to sad thoughts.) And your key… how you lost it. philosophers and poets. Musetta (Drawing Marcello away from Mimì, she Rodolfo Now that our pleasant friendship Oh! Mimì, my lovely Mimì! Mimì takes off her earrings and gives them to him as she must end, I bid you farewell, And in the darkness you tried so hard to find it. whispers.) old companion tried and tested Mimì (letting her arms drop) Take these, sell them, and buy her Farewell! Farewell! You still think I’m pretty? Rodolfo something to drink; send for a doctor! (Colline folds up the coat, puts it under his arm and Yes, searching, searching… Rodolfo is about to go, but seeing Schaunard, he approaches Rodolfo Fair as dawn in the springtime. Mimì To sleep now. him, pats him on the back, and mournfully You my fine young poet, exclaims:) Mimì Mimì now can I tell you frankly Schaunard, quite possibly our methods differ, No, no, you’re mistaken. that you soon managed to find it. You will not leave me? but now together two kindly acts we’ll do You mean to say fair as sunset in autumn. (Mimì gradually grows drowsy: Rodolfo takes a (pointing to the coat) mine’s this one; and yours… ‘I’m always called Mimì,… Rodolfo chair and sits down beside the bed.) leave them alone in here. (like an echo) but I don’t know why.’ I thought Fate needed helping. 94 95 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 96

Mimì (remembering her first meeting with Rodolfo Marcello Rodolfo (Reassured at seeing Mimì fall asleep, he I still have hope. Do you think it can be on Christmas Eve) I have just seen the doctor. gently moves away from the bedside and motioning serious? It was dark, and all my blushes were unnoticed… He’ll come. I said it was urgent. the others not to make any noise, he approaches Musetta (She faintly repeats Rodolfo’s words.) (He takes a spirit-lamp, and placing it on the table, Marcello.) Not really. ‘Your tiny hand is frozen! lights it.) 16 What did the doctor say? Let me warm it into life!’ Here is the medicine. Schaunard (in a hoarse voice) Marcello It was dark and you took my hand so gently. Marcello, she is dead! Mimì He’ll come. (A sudden spasm half suffocates her; she sinks back Who is it? (Marcello in his turn goes up to the bed and retreats fainting.) (Rodolfo, Marcello and Schaunard whisper together. in alarm. A ray of sunshine falls through the Musetta (She approaches Mimì and gives her the Every now and then Rodolfo goes on tip-toe to the window upon Mimì’s face; Musetta points to her Rodolfo (raising her up in alarm) muff.) bed and then rejoins his companions. Meanwhile, cloak which Rodolfo takes with a grateful glance, Oh! God! Mimì! Here, Musetta. Musetta is busily heating the medicine brought by and, standing upon a chair, endeavours to form a (At this moment, Schaunard returns and hearing Mimì (Helped by Musetta, she sits up in bed and Marcello over the spirit-lamp, as she unconsciously screen by stretching the cloak across the window- Rodolfo’s exclamation, hastens to the bedside.) with almost childlike glee seizes the muff.) murmurs a prayer.) pane.) Schaunard Oh, see how soft and warm it is. No more, Musetta Colline (He gently enters and puts some money on will my fingers be frozen, for this muff What’s wrong? Oh Mary, blessed Virgin, the table near Musetta.) will keep them warm. Mimì (She opens her eyes and smilingly reassures look down in mercy on a soul that suffers. Musetta, for you! (to Rodolfo) Grant that death may not take her. (He hurries to help Rodolfo stretch the cloak, as he Rodolfo and Schaunard.) Did you buy this Rodolfo? Nothing, I’m better. (Interrupting, she bids Marcello place a book asks him how Mimì is.) Musetta upright on the table, so as to shade the lamp.) How is she? Rodolfo (gently lowering her) There should be some protection Yes. Rodolfo Gently, for heaven’s sake. because the light is flickering. Mimì (stretching out her hand to Rodolfo) Look. She is sleeping. That’s right. Mimì You! what a spendthrift! Thank you, it cost you (Turning round, he sees Musetta, who makes a sign (resuming her prayer) Yes, yes, forgive me, dear. to him that the medicine is ready. Getting off the Grant that she may recover. now it’s over. (Rodolfo bursts into tears) chair, he is suddenly aware of the strange Most Holy Mother I am not Weeping? I’m better. demeanour of Marcello and Schaunard. Huskily, (Musetta and Marcello cautiously enter, Musetta is worthy of forgiveness, Why should you weep like this? almost in a speaking voice) carrying a muff; her companion a phial.) but our little Mimì’s My love always with you! What is wrong? Why all this coming and an angel come from heaven! Musetta (to Rodolfo) (She thrusts her hand into the muff; then she going? 15 Sleeping? gradually grows drowsy, gracefully nodding her Rodolfo (He approaches Musetta while Schaunard Why do you look at me like that? Rodolfo (approaching Marcello) head, as one who is overcome by sleep.) advances on tip-toe to the bedside. With a sorrowful (He glances from one to the other in Just resting. My hands are much warmer; and I’ll sleep. gesture he goes back to Marcello.) consternation.) 96 97 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 98

Marcello (Unable to bear up any longer, he hastens (He falls sobbing on her lifeless form. Terror-struck, to embrace Rodolfo, as he murmurs) Musetta rushes to the bed; then she kneels sobbing Opera in English on Chandos Be brave! at the foot of the bed. Schaunard, overcome, sinks Rodolfo (He flings himself on Mimì’s bed, lifts her back into a chair, to the left Colline stands at the up, shakes her by the hand, and exclaims in tones of foot of the bed, dazed at the suddenness of this anguish) catastrophe. Marcello, sobbing, turns his back to Mimì!… Mimì!… the foot-lights.) Translation: William Grist and Percy Pinkerton, with amendments by David Parry

CHAN 3007

98 99 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 100 Clive Barda Clive Robert Carpenter Turner Carpenter Robert

Alan Opie Dennis O’Neill Andrew Shore Cynthia Haymon Christian Steiner

Alastair Miles William Dazeley Mark Milhofer Marie McLauglin

100 101 CHAN 3008 BOOK.qxd 15/10/07 10:39 am Page 102

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Producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Richard Smoker Editor Jonathan Cooper Recording venue Blackheath Concert Halls; 3–7 September 1997 Operas administrator Sue Shortridge Staging assistant Charles Kilpatrick Front cover Photo of Cynthia Haymon by Bill Cooper (Arena Images) Back cover Photo of David Parry David Parry Art Direction D.M. Cassidy Design Sarah Wenman Booklet typeset by Michael White-Robinson Booklet editor Kara Lyttle P 1998 Chandos Records Ltd C 1998 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

102 SOLOISTS/PHILHARMONIA ORCHESTRA/PARRY CHAN 3008(2) Printed in the EU DDD CHAN 3008(2) TT 54:57 TT 56:07 Acts I &Acts II 1998 Chandos Records Ltd. Acts III &Acts IV c COMPACT DISC ONE COMPACT DISC TWO Geoffrey Mitchell Choir Mitchell Geoffrey Kay The Peter Choir Children’s Orchestra Philharmonia Parry David 2-disc set bass tenor tenor tenor baritone soprano soprano baritone baritone baritone 1998 Chandos Records Ltd. p bass-baritone Peter Hall Hall Peter DIGITAL Simon Preece Preece Simon Paul Parfitt Parfitt Paul Cynthia Haymon Haymon Cynthia Marie McLaughlin McLaughlin Marie CHANDOS (1858–1924) England . (A Bohemian Life) Essex , a musician...... William Dazeley . , a state councillor ...... Shore Andrew , a toy-seller ...... Milhofer Mark Scènes de la vie de bohème

, a painter ...... Alan Opie , a poet ...... O’Neill Dennis

, a philosopher...... Alastair Miles , a philosopher...... Alastair Miles , the landlord ...... Shore Andrew bit 20 Customs OfficialCustoms ...... SergeantCustoms ...... A Hawker...... Giacomo Puccini Puccini Giacomo La bohème in four acts Opera after Henry Illica and Luigi Giacosa Giuseppe by Libretto Murger’s English version by William Grist and Percy Pinkerton, with Pinkerton, and Percy Grist William by version English Parry David amendments by Marcello Rodolfo Colline Schaunard Benoit Mimì...... Parpignol Musetta...... Alcindoro CHANDOS RECORDS LTD. Colchester

PUCCINI: LA BOHEME CHANDOS CHAN 3008 INLAY BACK.qxd 15/10/07 10:41 am Page 1 15/10/07 10:41 INLAY BACK.qxd CHAN 3008