La Boheme, Puccini. Buenos Aires


Libretto by Luigi Illica and Giuseppe Giacosa

Teatro Avenida Buenos Aires City.

6 of September of 2013.

“Men die and Governments change, but the songs («songs» in the original, i.e.»arias» or «melodies») of La Boheme will live forever». Wrote Tomas Alba Edison to Puccini in 1920, and the words of the legendary inventor proved prescient since it is this wonderful and intimate story of Bohemians musicalized by the great Italian composer, the most represented opera in Buenos Aires since its premiere, the first of the work out of Italy.

There are enough reasons, so that the public follow thrilling, enjoying, laughing and crying by the hand and the voices of Mimi, Rodolfo, Marcello, Musetta and his friends in the late 19th century Paris, and is that the opera surpassed manners picture, the story, the local color, to talk about the soul human, their dreams and chimeras… of their harsh reality…

Puccini was consolidated with this title as the great composer post-Verdi that Italy and the Italian lyric expected and from there, his career was a succession of hits on one and the other side of the Atlantic… An event that, after his death, continued going arround the world.

Juventus Lyrica company (one of the two stable private companies which already more than one decade ago come presenting seasons in the Argentine capital) decided to close its 2013 cycle (a cycle with a certainly traditional programming and within secure public favor) with La Bohème, which premiered at the function that we are witnessing with a full room.

Ana D´Anna opted for a traditional setting, but which was attended by the naturalist history of Murger in which the libretto is based, stripping it of idealized Parisian bohemian charm and presenting a story purely realist and, perhaps for this reason, character closer to us… We saw in scene one Bohemian with its spontaneity and it’s carefree, but also with its forceful misery. So was the effective scenery of Gonzalo Córdova who omitted the «charm» of pictures and presented a suburban Montmartre, cold and gray, a stripped Garret, a Paris far from the romantic picture for-export. Perhaps lighting who exploited the creation of climates with greater success would have not been missed, in order to enrich here and there some moments of the visual approach of the work. Costumes by María Jaunarena was pleasant and consistent with the general conception of the implementation.

Acting marking was very interesting to introduce ourselves a Mimi who exceeds his traditional ingenuity, a little “silly”, turning her to women who gently but with intent, plays back the door of the apartment of lonely men. Musetta in turn presented her definitely practical spirit, with less poetry and more pragmatism to the needs, what was noted particularly in the last act, when is her that organizes the action of the Assembly. The Group of Bohemians responded to its traditional image and unfolded firmly and with internalization of the dramatic situation.

The popular scenes of the second Act were well resolved and marking children’s choir was very effective.

Sabrina Cirera attained a first-class Mimi, sung with a beautiful lyric voice with a color that enabled her to enrich the nature of interpretation; interesting flow makes that runs smoothly and looks a beautiful timbre throughout the register. She pointed out and sentenced with good taste, giving expression to her text, and gave us a “Si, mi chiamano Mimi» which was received with a standing ovation. Very interesting the Duet with Rodolfo, touching her «d´onde lieta uscì» and her participation in all the third Act (though she was not favored by her location, a bit whimsical, during the Duet between Rodolfo and Marcello); crowned the evening with an inspired fourth Act. The room cheered her, in the final greetings, an award that she won fairly and returned back with a marked emotion.

The Rodolfo of Mariano Spagnuolo was growing with the passage of the function. In the first Act he showed tense, perhaps with the nerves of the premiere, but as the night progressed, he managed to give us much of good thing he has: beautiful timbre, good treble, a very valuable wealth, good taste when it comes to qualify the singing… During the last two acts he managed his best results, stirring unambiguously. If he manages to make those values safer we assume that the future will be very flattering.

Laura Polverini gave us a good stamp Musetta, sung with a voice that is folded to the demands of the role perfectly and which she handled flawlessly. Her «Quando m´en vo…» started closed and deserved applause. Her character was more complete than in other versions and its evolution over the acts, was seen from her seductive opening remarks, casual discussion with Marcello in Act III and the pragmatism and resolution were she acts in the final act. Her stage presence is, increasingly, quality assurance.

Fernando Grasi is a frequent on the Argentine stages Marcello and this time showed his clear mastery of the role. His painter was served with good voice, couple and good fiato; He played with intention and accomplished that his character was fully credible. His presence on the stage which is always articulating the remaining characters actions carried a pleasant impression. Puccini not endowed the role with an aria of brilliance, but his interventions were always successful and his Duet with Rodolfo of the 3rd Act, of very high flight.

The Colline of Mario De Salvo touched us with a Masterful «Vecchia Zimarra…» sung with such good taste as good voice. He sentenced rightly, acted with conviction, showed a bell and a ductile and dark color, can anything more be requested?

Juan Font was a very convincing Schaunard from the scenic and served with a voice of beautiful timbre but a volume a bit below what would be required. In any case it gave life to his character and painted from its lightness until its final shock with skill and talent.

Gabriel Carasso did not found in Benoit and Alcindoro characters in which he could show his best. His comic vis is expanded in the first, but in the second was somewhat bland. We wish to applaud again his great talent in roles that make him more justice.

Well Fernando Navarro, Juan Felco and Gustavo Vita as Parpignol, the Customs and the Sargento.

El choir fulfilled a very lucid intervention in the second Act and the same can be said of children’s choir who moved with ease and sang with full musicality.

Maestro. Antonio María Russo made it clear his office and obtained a good performance from the Orchestra. Although at times his tempos were somewhat slow, his musicality of whole scenes was accurate and was able to extract details of the score with delicate taste. His baton was focused and dressed the scene by linking it with the moat with wisely.

The audience offered closed ovations to performers rewarding work that testifies how much talent we have between our artists and how much can be achieved when working conscientiously and in the service of art.


opera in four Acts

Musica by Giacomo Puccini

Libreto of Luigi Illica and Giuseppe Giacosa


Mimi… Sabrina Cirera

Rodolfo… Mariano Spagnolo

Musetta…. Laura Polverini

Marcello… Fernando Grassi

Colline…… Mario De Salvo

Schaunard.. Juan Font

Alcindoro / Benoit… Gabriel Carasso

Parpignol…. Fernando Navarro

Aduanero… Juan Feico

Sargento… Gustavo Vita

Niño…. Luca O. Loza Pérez


Chor Juventus Lyrica

Mtro. Antonio María Russo

Children Chor Musizap de la Asoc. Amigos de Orquestas Infantiles

Director Federico Neimark

Orquesta of Juventus Lyrica

Conduction: Mtro. Antonio María Russo

Scene Director: Ana D´Anna

Scene and lights: Gonzalo Córdova

Dressing: María Jaunarena


6 de Septiembre de 2013. ESTRENO

Avenida Theatre of de Buenos Aires City


Prof. Christian Lauria

 Traducción: María García-Rosado