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Running head: “La Bohème and ”

Opera on Broadway: La Bohème and Rent

Zheng Tang

Case Western Reserve University

[email protected]

May 4, 2009

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La Bohème and Rent

When people speak of ’s Rent, they also have to mention an Italian , composer ’s La Bohème, because although these two were composed in different periods, they share a close relationship. This paper will explore the similarities and differences by comparing and contrasting the following aspects between these two famous operas: origin and meaning, works, story and characters, musical features, and finally the idea of comedy and tragedy.

Origin and meaning

These two operas are based on “Scènes de la vie de Bohème, ” by , who was a

French novelist and poet (Parker, R., 1986). The word “bohemian” has come to mean “a person with artistic or literary interests who disregards conventional standards of behavior (The American Heritage

Dictionary of the English Language, 2006).” It comes from the French bohémien, meaning from Bohême,

Bohemia. The modern usage stems from the unconventional lifestyle of Gypsies, who were erroneously believed to have come from that region of Europe. Rent and La Bohème both focus on the plight of artists in cities that are reputed to celebrate them, New York in the case of Rent, and for La Bohème.

Both shows focus on the poverty and dangers of a life lived away from conventional standards, though

Rent shows an even bleaker existence in 20 th century New York than does La Bohème of 19 th century

Paris. Both operas simplified the plot of Murger’s original novel, but still tell the vivid stories of these people’s lives: they are fond of fun, but sometimes lack the money necessary to eat. Yet once they get enough money, they enjoy life to the fullest amount possible, even in the shadow of disease. Page 3 of 11

Works

La Bohème is the third of Puccini’s operas. It failed to meet with anything more than mild interest when originally performed and conducted by the young Arturo Toscanini in 1896 (Budden, J., 2002).

Since then, however, its popularity has increased significantly; becoming a part of the standard Italian repertory, as well as one of the most frequently performed operas internationally. In addition, it has won a place as a masterpiece of the Verismo Operas. Operas like this usually describe poor people’s lives.

The melody and rhythm both imitate the tone with which people speak, both up and down. La Bohème does not follow in the operatic style of Giuseppe Verdi, but still maintains the style of traditional Italian opera.

Rent is a modern rock opera (Larson, J., 1997), and has been noted for exploring serious social issues like multiculturalism, addiction, homophobia, and AIDS. The 1996 rock-opera is loosely based on

Puccini’s 1893 opera version of La Bohème. Composer and writer Jonathan Larson wished to update the setting and story of the classic opera to modern day in order to tell the story of the continuing tragedies of bohemian existence in America. While many plot details and themes are changed from the inspirational source, Rent and La Bohème possess many connecting similarities, which serve to enrich the performances of the modern musical for fans of the original opera.

Story and characters

La Bohème tells the observer of two kinds of love, though most of its time specifically follows a seamstress named Mimì, and a poet, Rodolfo. They fall in love, though Rodolfo later wants to leave

Mimì because of her flirtatious lifestyle. Later, he finally confesses his fears that she is slowly being consumed by a deadly illness. Rodolfo, in his poverty, can do little to help Mimì, and hopes that his pretended unkindness will inspire her to seek another, wealthier suitor. However, Mimì is terminally ill, and Rodolfo feels guilty since their life together has likely worsened her health even further. They reunite for a brief moment at the end before Mimì dies. Page 4 of 11

In contrast, Rent is a love story between Mimi, a club dancer, and Roger, a songwriter. It uses a group of impoverished young artists and musicians, struggling to survive and create in New York's Lower

East Side during the thriving days of the Bohemian Alphabet City. The shadow of AIDS is cast over the entire story to serve as a background. While these two operas share attractive stories, vivid roles, and make terminal disease a central theme, they differ in their time periods, the roles characters take, and the disease used to move the story forward.

La Bohème distinguishes itself not because the characters are anything special, but rather by the vivid and expressive music. Mimì and Rodolfo are ordinary people, but with full and engaging stories.

They take care of each other. Mimì’s arrival in his life came as a complete surprise to Rodolfo, as well as their falling in love at the first sight. Modern audiences may find the speed at which their relationship develops to be too fast, but from the characters’ viewpoint, it makes sense to move quickly, given their shared plight.

In Act 1, Rodolfo's aria Che gelida manina , "What a cold little hand," sets the stage for what follows. Mimì wants to find someone to help her to light a candle. When Rodolfo first meets Mimì, he does a double-take at her kindness and beauty. Not knowing how to make her stay longer, he decides to blow out the candle. When he finds Mimì’s key, he hides it instead of giving it to her. Then when he finally does hand it over, he feels her cold hand. Rodolfo did not expect Mimì’s hand to be so cold, leading to a very clear and vivid A-flat in the music when they touch. Rodolfo finds her attractive, but such a cold hand causes him to say, “Your hand is so cold, let me warm it,” which then leads into the .

This aria shines as a bright spot in the opera, as well as one of the most frequently performed arias. A similar episode was written into Rent, as Mimi wants someone who could help her light a candle, but in her case, she will use it for drugs.

There are plenty of similar episodes between Rent and La Bohème, but in addition to the similar plots, Jonathan Larson writes new meaning into the story as well. By choosing to use AIDS, a disease which could lead to discrimination and isolation, instead of tuberculosis, Larson gains the freedom to add Page 5 of 11 the characters Joanne and Angel, allowing him to enrich the story. Not only are the diseases different, but the end result of Rent differs from that of La Bohème, as well, in that Mimi does not die as she does in La

Bohème. Instead, Mimi wakes up from her fatigue and element-caused coma.

Though people are filled with an enterprising spirit in Rent, the plots are hopeless from the beginning. Some are infected with AIDS, others are drug addicts, but everybody lives close to the edge, which may explain why Larson gives the story a happy ending. Critics may not accept this, given that at present, AIDS is a terminal illness, and drug users often die prematurely as well. As a result, characters like Mimi, Roger, and Collins are not expected to live long. However, audiences who are familiar with

Larson’s life will understand why he changed the result. He was healthy, but a lot of good friends had

HIV, like Matt O'Grady, his friend from his home town (Larson, J., 1997). Writing Rent provided a way for him to make sense of the experience. To be a young bohemian artist, just like the characters he created, Larson had a reason to write good wishes into Rent, so he gave it a happier ending. This result may reduce the drama’s powerful meaning, but it also expresses Larson’s wish for a good life. Even in miserable existences, he maintains a sense of hope.

One could say that Rent was like an awakening for Broadway. Most shows from the prior ten to fifteen years kept the same musical style, and except for these unpopular works, there were almost no rock operas beyond reprisals of earlier, more popular shows. Rent changed this, drawing people to the theater with its themes of sincere friendship, true love, and energetic music and dance. Operas like this still remain rare worldwide.

At its core, Rent tells a sad story, and after ten years of active productions, it was won admiration for its description of the plights suffered by artists, club dancers, those with AIDS, and gay people.

However, the story tells us to share our love and support with those suffering from adversity.

Though they have their differences, we say La Bohème and Rent share a close relationship, not only because of their similar stories, but also their similar characters. The table below shows more sharply how these two operas contrast between each other. Page 6 of 11

La Bohème Rent

• Main characters are: • Main characters are: • Mimi Márquez, an exotic dancer with • Mimì, a seamstress with tuberculosis HIV • Roger Davis, a songwriter who also has • Rodolfo, a poet HIV • Mark Cohen, a filmmaker • Marcello, a painter • Maureen Johnson, a bisexual performance artist • Musetta, a singer • Angel Dumott Schunard, a gay drag queen percussionist with AIDS • Schaunard, a musician • Tom Collins, a gay philosophy professor and anarchist with AIDS • Colline, a philosopher • Joanne Jefferson, a lawyer, who is a

lesbian (also partially based on • Alcindoro, a state councilor Marcello)

• Benjamin ‘Benny’, the local landlord • Benoit, a landlord and a former roommate of Roger, Mark, Collins, and Maureen • Rodolfo and Marcello warm themselves in • Mark and Roger warm themselves in the the first scene by burning Rodolfo’s five-act first scene by burning Mark’s screenplays drama. and Roger’s music posters. • Mimì enters Marcello’s and Rodolfo’s • Mimi enters Mark’s and Roger’s apartment apartment looking for a light for her candle. during a power outage, looking for a light Her first aria begins with the words “They for her candle. Her first song ends with the call me Mimi.” words “They call me Mimi.” • Rodolfo sings of Mimì’s “sweet visage • Roger is mesmerized by Mimi’s “hair in bathed in a soft lunar dawn.” the moonlight.” • Musetta sings: • Maureen sings: “When I walk alone through the street “Every single day, I walk down the street I people stop and stare, and all seek in me my hear people say ‘Baby’s so sweet.’ Ever beauty from head to foot.” since puberty, everybody stares at me. Boys, girls, I can’t help it, baby.” • Schaunard is hired to kill an annoying • Angel is hired to kill an annoying dog by parrot by “incessant musical performance”. drumming incessantly. • Rodolfo says he wants to stop his • Roger says he wants to leave town because relationship with Mimì because she is Mimi has renewed her relationship with her flirtatious, but eventually reveals to previous boyfriend, but Mark encourages Marcello that she is also deathly ill. him to admit that he is afraid that she will soon die and does not want to grow too close to her. • After Rodolfo and Mimì’s separation, • After Roger and Mimi’s separation, Musetta meets Mimì, who is “so cold,” on Maureen finds Mimi “freezing” in a park the street and takes her to Marcello and and brings her to Mark and Roger’s. Rodolfo’s. Page 7 of 11

• As Mimì dies, she says “I have so many • As Mimi lies dying, she says to Roger, “I things I want to tell you ... you are my love should tell you - I love you.” and all my life!” • Mimì dies of tuberculosis at the end of the • Mimi nearly dies of AIDS at the end of the opera. musical.

Music features

Opera is singing to tell a story, so except for the stories told to the audience through singing, the story can only be discussed from the point of view of music.

In La Bohème, when Mimì first appears at the door of Rodolfo’s garret in the first act of the opera, the quiet simplicity of Puccini’s scoring sets her apart from the other boisterous bohemians (Edwards, G.

& Edwards, R., 2003).

Mimì’s aria has a more complex structure. Its opening phrase is anticipated by the clarinets as heroine knows at the door; so this significant melody also originates in the orchestra, only later becoming the connective tissue between different sections in a rondo-like manner. Puccini always begins Mimì’s theme on the dominant ninth of F, closing on the dominant of the home key, D major (Girardi, M., 2000).

Rodolfo’s aria Che gelida manina - “What an icy little hand” in turn encourages Mimì to open her own heart to this man who seems to share her dream of love (Edwards, G. & Edwards, R., 2003). This aria often poses difficultly for tenors, not because of the high range, but rather the lyrical content of the song, as it requires the singer to employ a tone color full of both poetry and romantic expression.

Rodolfo introduces himself, then asks Mimì: “Now that you know who I am, speak. Ha! Speak.

Tell me who you are, please do?” Mimì replies: “They call me Mimì, I do not know why. I make my breakfast by myself. I do not always go to church, but I often pray to God. I live all alone, all alone, in a little white room high above…” (Puccini, G.). Mimì is very lonely, and while both sadness and happiness show through in her embroidery, nobody concerns themselves with her, so when Rodolfo asks about her life, she feels very embarrassed. Her hesitation shows in the tone color of her song, as if she does not Page 8 of 11 know how to speak out. But from the melody, the audience sees the dream and poetry inside her heart.

At the end, she seems unable to stop, then realizes how far she has gone, and says with an embarrassed tone, “I cannot tell you more about myself. I am an annoying neighbor who has come to disturb you at the wrong moment.” (Puccini, G.). Mimì’s introverted disposition but passionate heart tends towards arias. Mimì’s part also presents difficulty to the singer because of the intensity of the passion and enthusiasm residing deep in her heart.

Besides the solo arias of Mimì and Rodolfo, their duet impresses audiences even more. In this opera, duets are very important. For instance, in the end of act 1, Rodolfo and Mimì sing their arias, but finally together for the first time. The stories remain very common, like lighting candles or finding keys, but Puccini uses fine and subtle music to make it lovely and warm.

The duet in act 1 gives the audience the themes of this opera. There are a lot of people moving about in the beginning of act 1, making the identity of the main characters unclear. After everybody leaves and the duet between Rodolfo and Mimì begins, the audience sees clearly who the leads are.

Rodolfo’s and Mimì’s themes repeat often during the rest of opera. Wagner’s influence on Puccini can also be heard in the music. As a conservatory student in Milan, Puccini became familiar with Wagner’s music. He himself used a sort of leitmotif technique, which is quite evident in La Bohème. A leitmotif is a particular musical phrase or theme that always stands for a certain character or situation (Puccini, G.).

The duet in act 3 and the last moment before Mimì dies are variations of the duet first sung during the first act.

The duet between Rodolfo and Mimì in act 4 happens before her death. This duet recalls all the things which happened, and while Mimì sings a short aria in the end, it seems as if she wants to say goodbye to Rodolfo. When all their friends have left, she sings: “Have they gone? I pretended to sleep… because I wanted to be alone with you… There is so much I want to tell you…” (Puccini, G.). This is

“the love you gave to me as great as the sea.” From here, the music stands out as tragic, the sorrowful melody remains in the background as though they were recalling the past. It makes the music more Page 9 of 11 obvious, leading to the tragic end, almost like poor people singing a funeral song to themselves, and often bringing the audience to tears at the same time.

Whatever forms a musical, opera, or song and dance drama takes, they often share the same problem, whether the music compromises the story, or the story includes music. This is where Rent stands out, as the and plots merge into each other perfectly. There are some songs which provide narratives for the story, while other songs are stories in themselves. For instance, “Goodbye Love” uses rock, chant, and repetition within the piano part to fully express the loneliness felt. Another song, “La Vie

Boheme,” rushes out in full force, includes almost all of the characters, and uses many difference kinds of musical styles such as rap, mass, and rhythm and blues.

Rent combines many different styles and elements through the whole opera in this way, making use of genres such as rock and roll, folk, rhythm, blues, gospel, Latin, heavy metal, and hip-hop. It uses different musical elements to express different feelings, and does so in a very fluent and natural manner, linking into a greater whole. The characters’ spirits express themselves incisively and vividly from song to song. As a musical, Rent’s success at combining so many different elements stands out in ways no others have matched since.

Comedy and tragedy

These two operas are both considered to be their respective composer’s masterpieces. They both include themes of happiness and sadness. In Puccini’s music, he used the same sequences throughout La

Bohème: but by subtle changes in their musical construction those phrases that first indicated fun and gaiety later foreshadow sadness and the death. Acts one and two of La Bohème are comic; Acts three and four move steadily toward the final tragedy, act four recapitulates melodies heard throughout the rest of the opera, but the recapitulations differ from the original versions: music that formerly conveyed humor and playfulness now suggests the pathos of Mimi’s hopeless situation (Puccini, G.). Page 10 of 11

In Rent, a song mentioned earlier, “La Vie Boheme,” pushes the opera forward towards its climax.

It has a poignant contrast between the people left behind, and those who died because of AIDS. In the end of Rent, though, the two stories diverge, as Mimi dies in La Bohème, but wakes up in Rent.

For more than a hundred years, though, audiences have loved Puccini’s opera, and singers have enjoyed performing it. Domingo said that La Bohème combines meltingly beautiful music with a very realistic love story of everyday young people.” (Phillips-Matz, M., 2002). Audiences continue to appreciate the story Puccini wrote, and the ways Larson updated it. Page 11 of 11

Reference List

Budden, J. (2002). Puccini: His Life and Works (pp. 494). New York: Oxford University Press.

Edwards, G. & Edwards, R. (2003). La Bohème. Verdi and Puccini Heroines (pp 63, 64). USA: The Scarecrow Press, Inc.

Girardi, M. (2000). Puccini: His International Art. (pp. 125). Chicago: The University of Chicago Press.

Judy Flannery (1999). Giacomo Puccini La Bohème [videorecording]. West Long Beach, N.J.: Kultur International Films.

Larson, J. (1997). Rent. New york: 10019, Melcher Media, Inc.

Parker, R. (1986). Cambridge Opera Handbooks: La Bohème (PP.1). Cambridge University Press.

Puccini, G. (1858-1924). La Bohème: libretto di Giuseppe Giacosa e Luigi Illica ; musica di Giacomo Puccini ; traduction mot à mot accent tonique par Marie-Thérèse Paquin. (pp. 50, 51, 163). Montréal : Les Presses de l'Université de Montréal, 1975.

Puccini, G. (1858-1924). La Bohème (pp. 33). Translated and introduced by Ellen H. Bleier. New York : Dover Publications, 1962.

Phillips-Matz, M. (2002). Puccini : a biography (pp. 105). Boston: Northeastern University Press.

The American Heritage Dictionary of the English Language (2006). (4 th edition). Published by Houghton Mifflin Company. From http://dictionary.reference.com/browse/Bohemian.

Widescreen (2007). Rent [videorecording]. Culver City, Calif.: Sony Pictures Home Entertainment.