Demonstrative bohemia of the Bolshoi Theater. Tickets for the opera “La Bohème” But even in isolation from a specific theater, the “new” “La Bohème” showed a much larger and more interesting feature

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Performed in Italian with Russian subtitles.

The performance has two intermissions.
Duration: 2 hours 50 minutes.

Libretto by Giuseppe Giacosa and Luigi Illica
based on the novel “Scenes from the Life of Bohemia” by Henri Murger

Stage conductor: Peter Feranets
Stage Director: Federic Mirdita
Production designer: Marina Azizyan

The opera La Bohème was created based on the novel La Vie de Bohème by Henri Murger. In the novel, the French writer depicted the life of young musicians, artists and poets living in Paris, in the Latin Quarter. For the writer, this work became the most powerful in his creative biography. The novel “Bohemian Life” was released in 1851 and brought its creator enormous success. Subsequently, Henri Murget turned the novel into a play, La Bohème, in five acts. The libretto for the opera La bohème was written by Giuseppe Giacosa and Luigi Illica in 1985. The music for the opera was created by the famous composer Giacomo Puccini (it took him eight months to complete this work). The opera premiered in Turin on February 1, 1896.

The opera La Bohème at the Bolshoi Theater takes audiences to Paris in 1830. A successful and exciting plot intrigues you from the very beginning of the performance. The story of young main characters unfolds before us - two women and four men. They are talented and dreamy, independent, but poor. Their life is filled with small sorrows and joys. The opera has a place for satirical, entertaining episodes, and nostalgic and sad ones. At the center of the drama is the couple Rudolf and Mimi - but in order to highlight their tragically difficult story, the plot is periodically interrupted by the funny squabbles of another couple in love, Marcel and Musetta. The atmosphere of Paris in the mid-19th century is perfectly conveyed; the viewer watches with interest both the Parisian Latin Quarter and the cozy attics where the artists live.

A year after the debut performance of the opera La Bohème in Turin, the performance was demonstrated in Moscow (1897). For Moscow audiences, the opera was performed by Fyodor Chaliapin and Nadezhda Zabela. In 1911, La Bohème entered the repertoire of the Bolshoi Theater.

The modern production, which you can see today on the stage of the Bolshoi Theater, dates back to 1996 (that show was dedicated to the centenary of the Turin premiere). The chief conductor of the Bolshoi Theater, Peter Feranets, worked on the production. Critics unanimously left rave reviews. The orchestra managed to flawlessly convey the musical impressionism and astringency of the notes written by the great Giacomo Puccini. The Vienna Bolshoi Theater Foundation also supported the opera La Bohème, recommending the theater a director from Austria, Federick Mirdita. The opera La Bohème at the Bolshoi Theater also became a launching pad for artist Marina Azizyan and singer Sergei Gaidei.

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The origins of the concept of “bohemia” lie in the incredible popularity in France of the 30-40s of the so-called gypsy myth, the basis for which was the adventurous and wandering lifestyle of the young inhabitants of the streets of Paris, free from the norms of public morality. For a long time, the euphonious word “bohemian” gave rise exclusively to criminal, and not artistic or artistic, associations. Card sharpers, clochards and thieves - that’s who proudly bore the name “bohemian”.

The life of the Parisian bohemia was poetized and embellished by the son of the concierge, journalist and writer Henri Murget. “The Homer of Parisian Bohemia” Murget composed a reverent legend about the talent and nobility of the inhabitants of the Latin Quarter. He transformed hungry ragamuffins and slovenly, vulgar girls into restless dreamers and charming beauties. “Scenes from the Life of Bohemia” (1851), which made Murger’s name famous throughout Europe, not only lured seekers of truth and adventure who had broken out of the narrow framework of a respectable life to the “Latin soil,” but also inspired more than one generation of artists and writers to test their creative temperament.

In 1893, two composers decided to write an opera based on the plot from Murget’s novel - Ruggero Leoncavallo and Giacomo Puccini. Puccini, who wanted to glorify his poverty-stricken but cheerful student youth, turned out to be faster and came to the finish line first. The premiere of his La Bohème took place on February 1, 1896 (the tiringly long work of the librettists still delayed the matter very much). The maestro was dissatisfied with the city of Turin chosen for the premiere: after all, in Turin’s Teatro del Reggio, he explained to his friend and publisher Giulio Riccordi, not only does there not be good acoustics, but encores are also prohibited. There was no encore in Turin. The public greeted Puccini's new work with polite applause, and critics with angry articles.

“La Bohème” was predicted to have a short life; the composer was advised to understand his mistakes and return to the path of true art, where “Manon Lescaut” had led him three years ago. Puccini was unlucky with the actors: the performer of the artist Marcel turned out to be a terrible actor, and the performer of the poet Rudolph turned out to be an unfit singer. But that evening, twenty-eight-year-old Arturo Toscanini stood at the conductor’s stand. “After the premiere of La Bohème,” Puccini recalled, “sadness and melancholy filled me, I wanted to cry... I spent a terrible night, and in the morning I was greeted by a malicious greeting from the newspapers.” Critics changed their minds quite quickly. In April of the following year in Palermo the opera was already a great success.

Lyudmila Danilchenko

"La Boheme" of the Bolshoi Theater

A year after the premiere in Turin (1896), La Bohème was heard in Moscow performed by artists from Savva Mamontov’s Private Opera, among whom were Nadezhda Zabela (Mimi) and Fyodor Chaliapin (Shaunard).

And it entered the Bolshoi Theater repertoire in 1911 thanks to the efforts of Leonid Sobinov, who ordered a new translation into Russian and not only performed the role of Rudolf, but also acted - for the first time - as a stage director. The performance supported the theater's choristers (the premiere was given at the choir's benefit performance), but did not remain in the repertoire.

Unlike the first European productions of this famous operatic melodrama (at the London Covent Garden theater the same performance was preserved from 1897 to 1974, at the Parisian Opera Comique - from 1898 to 1972), at the Bolshoi "La Bohème" did not have a long life. was different. Neither before the revolution, nor after. Although the first “Soviet” production was carried out just four years after the victorious October 17th.

In 1932, the new La Bohème, given the intimate nature of this opera, was sent to the stage of the branch, where it again lived for only a short time and where it was revived through the efforts of the next production group in 1956. There is an interesting story connected with “La Bohème” from 1956, which was not quite typical for those times. This production began the entry into the opera world of the famous conductor of Polish origin Jerzy Semkov, a graduate of the Leningrad Conservatory who trained at the Bolshoi Theater. (Three years after this premiere, he would become the chief conductor of the Warsaw Bolshoi Theater, and two years later he would leave for the West.) Distinguished by his proud and independent disposition, young Semkov considered it necessary to respond to criticism (balanced with praise) through the Bolshoi Theater newspaper, explaining individual miscalculations a small number of rehearsals. However, this did not harm his future career at all.

The current production appeared in the repertoire in 1996 to commemorate the centenary of the Turin premiere. This was a successful work a year before Peter Feranec was appointed chief conductor of the Bolshoi Theater Orchestra. The critics were almost unanimous: the orchestra under the direction of the Slovak conductor perfectly conveyed both the transparent impressionism of the music and its astringency, once again recalling that Puccini is the 20th century (at the end of the 20th century this characteristic was still perceived as synonymous with the definition of “modern”). The then Vienna Bolshoi Theater Foundation, which supported the production, recommended the strong Austrian traditionalist director Federick Mirdita to the theater. At this production, the famous St. Petersburg artist Marina Azizyan made her debut at the Bolshoi, and a year later Vladimir Vasiliev invited her to design his own version of Swan Lake.

Of the storage units related to La Bohème, the subject of particular pride of the Bolshoi Theater Museum (in addition to the set designs of Konstantin Korovin and Fyodor Fedorovsky, who designed productions of this opera at different times) is the first edition of the clavier (Ricordi and Company, Milan, 1896) , decorated with the autograph of the composer himself.

Natalya Shadrina

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