La Bohème

I was excited to watch this film on PBS after an early holiday dinner. It certainly didn't get off to a good start, with the young Bohemian roommates overacting and over-singing, about nothing at all. Apparently, director Robert Dornhelm had no idea how to play that down. Or else he didn't bother; I don't know. Rolando Villazón should have been encouraged to start off in a more subtle way, with less volume and less mugging. And the makeup artists surely could have done something to make him appear less lugubrious.

It was disappointing to see Anna Netrebko, a riveting actress and singer, so ill-used. Again, there must have been some way to make her appear both more attractive and more interesting; on stage, she is gorgeous and completely unique. The split-screen technique made no sense and added nothing to the drama, while scenes that featured people singing off-screen were confusing and boring.

I'm sure this is not entirely the director's fault. Grand opera fares best on the stage, and often appears stiff and overblown in film versions. Probably the best idea would simply have been to film the singers performing on stage in front of an audience. We would have gotten the benefit of verisimilitude, and the dramatic gestures and heroic singing that opera demands would have seemed much more fitting.

Oh, well!

It is what it is: a film version of an opera - they can never be anything else after all. This must be seen as a film of people miming to music with cinematography augmented by digital cartoonery supplanting stage drama, and judged on those merits. As a film it's pretty - pretty enjoyable and pretty well worth watching … and of course Anna Netrebko as Mimi is fairly pretty too!

Young penniless couple meet, fall instantly head over heels in love for no reason at all but their dreams are cruelly cut down by her illness… and all to some of the most emotionally charged music ever written. So long as the music, libretto and script are adhered to a film version can't go wrong - the director generally sticks to it and doesn't force his own interpretations on us too much. When he does, it works: a restrained use of artistic license. And there's nice imagery, plush backgrounds and clever use of colour. Trouble is, the atmosphere generated by a live performance is lost with a film – the lavish 2008 Met Opera production by Zefferelli recorded with Angela Georghiu and Ramon Vargas had its faults too but imho is preferable to this. We all probably have our own favourite versions of Puccini's most famous opera – mine is the May 1938 complete recording in Milan with Beniamino Gigli as Rodolfo (especially of O Mimi, Tu Piu Non Torni at the beginning of Act 4 - something so beautiful which has not been bettered since the advent of stereo or digital - since the singer was unrepeatable). What's yours? For arguments sake I could also say the legendary Lucrezia Bori's Mimi still resonates well through the acoustic mono hiss from her century-old records.

Netrebko has a fine and well controlled voice, but having seen her repeatedly wallow in a swimsuit to Dvorak's Song To The Moon on the late UK Classic FM TV I still wonder whether she's punching above her weight with operas like La Boheme – incidentally great blood spattered acting in the Met's Lucia Di Lammermoor a few months ago but is she colouratura enough? Her acting for the camera here is also fine, something which is occasionally in doubt when she's performing live – however the rapturous applause from her adoring Met audiences for her various performances this year leave no doubt of her superstardom. Favourite bits from many: O Soave Fancuilla - definitely not bathed in moonlight; Dunque: E Propio Finita in the pouring snow; naturally the climax back in the garret – as suitably tearjerking as it should be. However, this is a film (with minor faults) well worth the time/effort and an admirable vehicle for Anna Netrebko, as it should be. Brava!

I expected to hate this because I can't stand dubbed opera but, to my surprise, I found that I loved it. Considerable trouble seems to have been taken with the lip synching and Rolando Villazón in particular really looks as though he is singing rather than just opening and closing his mouth in time to the music. So what this film lacks in operatic authenticity it makes up for in dramatic impact. Villazón has an impressive dramatic range with a very mobile face, OK so sometimes he looks like Mr Bean. Anna Netrebko does not have to do much more than look lovely and sing divinely, two things that she does supremely well. Nicole Cabell is a scream as Musetta and almost outglams La Netrebko. I was going to say that Schaunard, Marcello and Colline are well sung and well acted but, checking the credits, I see that they are performed by three on-screen actors miming to the singers' voices. That probably explains why I thought that the lip-synching was not so good in those roles.

There is just enough opening up of the action. We see Mimi right at the beginning in her room listening with interest to the antics of the four artists. We also see her cross the landing and deliberately blow out her candle before knocking on Rodofo's door. Most surprisingly, we see Mimi and Rodolfo pause on the way to the Café Momus to go to her room and consummate their relationship.

Such a splendid production makes you wonder why they did not do it this way and also record the sound live. The technology is available these days. I suppose it was a question of priorities with the first priority being to make a perfect CD with the film being a subsidiary aim.

I discovered this production on You Tube while surfing. What a great find! I am an opera buff and Boheme is my number one favourite. (There is a disk of the last scene in ACT 1 filed with my will with instructions it be played at my funeral.) I have seen Boheme live and on video many times. I have countless productions on VHS, DVD, casettes and CD's. But I never have seen Netrebko in it. She is a SUPERB Mimi --- devious, flirty and coy. (A little too healthy looking for somebody dying of "consumption" but what the heck... this is opera...) Nicole Cabelle is a wonderfully unique Musetta. And they have captured the boisterous camaraderie of the students perfectly as well as the atmosphere of Paris in the early nineteenth century. I've always loved the Zeffirelli film of La Traviata. This is its equal!

As some people may know, I am a huge fan of opera and classical music. And I am a huge fan of La Boheme, so I wanted to see this naturally. And I thought overall it was beautiful. My only complaint was the sound, some of it sounded a bit off and lazy particularly in the middle of Che Glenida Manina, at first I wasn't sure whether it was the sound or whether it was Villazon trying to be even more delicate than he was being- anyone who's seen him before will know he does have quite an eccentric, passionate and exciting presence particularly when he's talking about singing and opera.

Other than that, I loved this production of La Boheme. It's not the best(I remember the 1988 production with Mirella Freni and Luciano Pavarotti with such fondness), but it doesn't try to be. On its own, it is a very solid performance of a beautiful opera. The production values are wonderful. The photography has some interesting angles that don't jar, while the sets, lighting and costumes are very pleasing to the eye.

Puccini's music is amazing. It is an incredibly lyrical and poignant score, with some of the most breathtakingly beautiful tunes in the history of opera, particularly Mimi's Act 1 aria and the Act 3 duet, both of which bring a lump to my throat always(and it did here too). I also cannot hold back my tears during Act 4, knowing what is going to happen at the end just has me in floods, and here it did do that.

La Boheme while heart-rending does also have one or two humorous spots. Particularly in Act 2, primarily Musetta's entrance and Marcello's reactions to her and the men's shock over the expensive bill. The story is beautifully constructed and never feels forced or superficial.

The performances are top drawer. Anna Netrebko is a stunning Mimi, she is in beautiful voice, she looks beautiful, here her stage presence feels natural and understated and she really moved me in Act 4. Rolando Villazon is a pleasant surprise. Although the sound does him little favour, Villazon does do what he can to give a delicate acting performance as well as using his powerful voice to the limits without overdoing it too much. Nicole Cabell is a sheer delight as Musetta, and really holds her own, she is deliciously flirty, charming and seductive in Quando M'en Vo, yet in Act 4 we see a completely different side to Musetta that we don't expect as here she is more humble and sensitive. Marcello and Colline also perform well, and the dubbing actually doesn't distract.

Overall, beautiful version that could have been even better had the sound been more than it was. If you haven't seen it before, or any other version of La Boheme, have a box of tissues at the ready, I think you'll need them. 9/10 Bethany Cox