Giacomo Puccini’s
La bohème
Libretto by Luigi Illica and Giuseppe Giacosa New production by Jo Davies Original stage direction by Peter Kazaras Conducted by Philippe Auguin Can people survive simply on love and art? Maybe. Puccini’s famous poor-but-happy Parisians seem to believe so. But can their artistic (or “bohemian”) lifestyle keep them warm throughout winter into spring?
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About Puccini’s
La bohème
Before Broadway’s Rent, there was La bohème, one of music’s most celebrated love stories. It should come as no surprise that its dramatic themes continue to turn up in movies and other stage productions to this very day.
Rodolfo stays behind to work, but he’s interrupted by a knock at the door. His neighbor Mimì (mee-MEE) asks for help, saying her candle has blown out. She suddenly faints, but Rodolfo revives her and relights her candle. Mimì also realizes she’s lost her apartment key and, as the two look for it, their candles are blown out. Rodolfo takes her hand as they feel their way through the dark. Night passes, and the two share their hopes and dreams with one another and discover they are falling in love.
ACT II
Rodolfo and Marcello use the poet’s plays to fuel their apartment fireplace. Set design by Lee Savage
ACT I On Christmas Eve, Marcello (pronounced mahr-CHELL-oh), Rodolfo (roh-DOLLfoh), and Colline (coh-LEE-neh) are warming themselves in a chilly attic apartment. Another friend, Schaunard (shoh-NAR), arrives and, as he’s recently come into some money, invites the group to a celebration. The landlord shows up and demands rent, but the friends outsmart him and head to town.
At the famous Café Momus, Rodolfo introduces Mimì to his friends. Marcello’s ex-girlfriend, Musetta (moo-ZEHT-ah), enters with her boyfriend, Alcindoro (ahl-cheen-DOHR-oh). Marcello tries to ignore her, but Musetta charms him with a song and creates a distraction for Alcindoro. The bohemians slip away, leaving Alcindoro with the bill.
Main Characters Rodolfo, a poet and writer Marcello, a painter Colline, a philosopher Schaunard, a musician Mimì, a seamstress Musetta, a singer
ACT III
About Giacomo puccini
Later that winter, Marcello and Musetta are living on the edge of Paris. Mimì stumbles to their door. Pale and sad, Mimi is suffering from tuberculosis, a common disease at that time. Marcello asks her in, but when Mimì discovers Rodolfo is inside, she declines. Mimì tearfully explains she and Rodolfo have split because of his angry jealousy.
Born in the city of Lucca, Italy to a gifted musical family, Giacomo Puccini (1858–1924) discovered opera at a young age and dedicated his life to the art form. His works, characterized by beautiful tunes and dramatic mood swings, contributed to a new style of opera known as verismo (meaning “truthfulness”), which focused on presenting stories as realistically as possible without shying away from tough subjects like murder, scandal, or poverty. Today, Puccini’s La bohème, Manon Lescaut, Madama Butterfly, Tosca, and Turandot remain opera house favorites.
Marcello talks to Rodolfo while Mimì hides. At first, Rodolfo calls Mimì a flirt, but then admits the real reason he let her go: She is terribly sick and he feels guilty that his impoverished lifestyle made her ill. Mimì lapses into a coughing fit and Rodolfo discovers her. Devastated, she says it’s best for them to part. Yet, as they remember their happy life in Paris, they decide to remain together until spring. Fresh from their own fight, Marcello and Musetta say goodbye.
ACT IV In the spring, Rodolfo and Marcello secretly pine for their lost loves. Colline and Schaunard enter and the four men playfully pretend to dance and fight with one another. They’re interrupted by a cry from Musetta who has found Mimì alone and near death. Rodolfo tends to Mimì and the two recall the night they met. But will their love be enough to save her? Can their bohemian life last? To learn more about opera visit www.kennedy-center.org/artsedge and click the tag “opera”
About Washington National Opera Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. As an affiliate of the John F. Kennedy Center for the Performing Arts, WNO presents several operas each year at the Kennedy Center Opera House and performs throughout the city, offering training and enrichment programs year-round. In the past decade, WNO has reached worldwide audiences through international broadcasts.
photos by cade martin
THINGS TO THINK ABOUT… n La bohème features real, “everyday” people instead of
kings and queens or gods and goddesses. Why do you think Puccini chose a story about normal human beings? Does it make the opera more interesting? More boring? Why? n Mimì and Rodolfo and Marcello and Musetta seem to
represent two different types of romance: sweet and feisty. How does Puccini reflect these differences in the music? (Hint: Think rhythms and instruments.) When are the differences most obvious? n By operatic standards, the arias (songs) in La bohème are
fairly short and tend to flow with the drama instead of using the typical verse-refrain-verse-refrain pattern. Why do you think Puccini chose this style for this particular story?
WHAT TO WATCH AND LISTEN FOR… n The
way certain musical phrases or melodies keep returning to help remind you of specific characters and situations.
n The realistic way in which main characters’ musical lines
are interrupted by cries from the children, shoppers, and restaurant-goers in Act II. This was a relatively new device in Puccini’s time. n The
march of the soldiers at the end of Act II. Why do you think the creators chose to have men of war walk through such a happy scene?
n The
openings of Acts I and IV. Though the music for these acts may sound similar, there are some subtle differences. Can you spot them? Why do you think Puccini chose to open and close his opera with the same type of music?
The bohemians gather at their favorite café while busy Parisians prepare for Christmas.
David M. Rubenstein Chairman Deborah F. Rutter President Darrell M. Ayers Vice President, Education
Michael L. Mael Executive Director Francesca Zambello Artistic Director WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. General Dynamics is the proud sponsor of WNO’s 2014-2015 Season. The Domingo-Cafritz Young Artist Program is made possible through the generous support of The Morris and Gwendolyn Cafritz Foundation. Additional funding for the Domingo-Cafritz Young Artist Program is provided by Judy and Billy Cox. Events for Students is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education. Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.
© 2014 The John F. Kennedy Center for the Performing Arts