La Bohème, Sweden:
“World-famous tenor José Cura has always been concerned with the
entire musical performance and going beyond his role as a singer.
He began directing opera productions in 2008 and in 2012 received
the offer to do La bohème on the national stage. […]
Puccini went straight into the action without an Overture; in this
set, Grieg’s tribulation with composing “Morning Mood” at the piano
opens the show.
Munch’s paintings The Kiss, The Sun, and The Scream
are strikingly projected on the back of the stage and offer great
interaction with the epic.
The work would not be one of opera’s top two or three most produced
play unless it also contained an effective drama. La bohème
traps the actors in four acts, with short fragments of love, family
quarrels, and incurable disease. The work poses questions about
what money means in a relationship and when separation is the only
way out. The performance is unusually even from the main to the
smallest supporting roles [and] has the elements to make it into an
honest artistic success.” DT, 26 November 2015
La Bohème, Sweden:
“At the piano sits Edvard Grieg and playing his “Morning” and
suddenly we are right there, in the middle of the Main Square in
Stockholm. When the Royal Opera puts Puccini’s popular opera
La bohème among the roofs of the old town, it’s hard not to
be seduced by the scenes. The set changes with Munch paintings and
with inspiration from both Kristiania bohemerna and August
Strindberg’s “Red Room.”
The multicompetent director José Cura (set design, costume, make-up,
and lighting) has been clever about the story of the soul of the
Scandinavian artist who burns his manuscripts to keep the attic
warm. The author Rodolfo has been transformed into Strindberg, the
composer Schaunard has become Grieg, the philosopher Colline
emulates Søren Kierkegaard, the painter Marcello is Edvard Munch and
the cabaret singer Musetta is his mistress Tulla Larsen. Only Mimi
remains the same as the young woman with the cough and the cold
hands. Dramatically everything hangs together ….”
Dagens Nyheter,
23 November
2015
La Bohème, Sweden:
“…and then to escape from worldly worries for a while in such a
strong performance, yes, this is a TERRIFICALLY pleasant
experience.” Eskilstuna-kuriren, November 2015
La Bohème, Sweden:
“La bohème in Scandinavian is a beautiful version, good looking,
touching, and professional.” Kulturbloggen, November 2015
La Bohème, Sweden:
“The show is tenor José Cura’s baby. He has done it all: director,
set designer, lighting, costumes and make-up. After a walk in the
Old Town and a visit to the Strindberg Museum, he decided to place
one of operas favorite stories in Scandinavia in an 1800s setting.
The four bohemians who freeze in the attic in Paris now frees in the
old town and are called Strindberg, Munch, Grieg and Kierkegaard
(instead of Rodolfo, Marcello, Schaunard, and Colline). Mimi is the
only one who retains her original name and she is created from the
angelic creature in Munch’s painting “Two People” who participates
in the action to get the others to realize what is important in
love: namely, love. I think the cast gets a prequel that allows
them to become quickly sketched, fuller subjects of the
imagination. Edvard Munch’s carefully selected paintings are
beautiful, evocative resources that correspond elegantly with the
libretto.” Expression, 22 November 2015
La Bohème, Sweden:
“La bohème had its long awaited premiere at the Royal Opera last
night. It was a very fine opera experience and perhaps what
explains the successful premiere is that one man, José Cura, was
primary responsible for the directing, costumes, staging and
lighting. …[H]is interpretation makes it easier to understand the
story of the Bohemians, not least through a clear directorial
effort. In most other productions you understand the story and
sequence of events by listening to the music but Cura makes it so
much clearer theatrically. For example, it becomes apparent that
Rodolfo falls instantly in love with his Mimi. It is one of the
show’s highlights. There was a standing ovation and it was only
right and proper and well deserved!” OperaLogg, 22 November 2015
La Bohème, Sweden:
“Nordic bohemians convinces with vocal splendor. [It is]
imaginative, with good humor and much charm.” SvD, November 2015
La Bohème, Sweden:
“Argentine tenor José Cura looks like a veritable jack of all
trades: he is responsible for the directing, set designs, costumes,
masks, light, and for tonight only as a figure in his own set.
Inspired by a visit to the Strindberg Museum, he has made a
Scandinavian La bohème, with the frozen bohemians
located in Stockholm, just before the turn of the century when the
opera was written. It is not, therefore, a temporal update but
rather a geographical movement. Cura creates a fictional world
where the bohemians become 1800 artistic figures. Mimi retains her
own name, but the poet Rodolfo has become Strindberg, the painter
Marcel becomes Edvard Munch, the musician Schaunard is Edvard Grieg
(a few notes from him have also found their way into the score) and
the philosopher Collin is Søren Kierkegaard—that the idols belong to
different generations is not at all problematic in this opera
reality. Cura combines naturalism and symbolism so that both Munch
and Strindberg could have felt at home in the bohemians’ drafty
attic. Psychologically, it is admittedly difficult to see Strindberg
as a wistful poet but the temperamental quarrels between Marcel and
Musette probably reflects quite well the wrenching relationship
between Munch and Tulla Larsen, the red-haired woman we recognize
from several of his paintings. His pictures pervade the entire set,
often as large screens. Sometimes the notion is clear, sometimes
elegant—when Rodolfo / Stringberg and Mimi meet their first kiss
melts together with Munch’s ‘The Kiss.’ A Munch-ified view of the
main square is the set design for Act II, where the Christmas Eve
dinner is enjoyed in an outside terrace in a somewhat un-Swedish
way. But the Stockholm environment contributes greatly to the
feeling of home in this set. Cura even changed the Italian text
sung on stage. The bohemians exclaim “Till
Berns, till Berns” and the street sweepers who gather at dawn cry
“Vi ses vid Danvikstull.” Despite the slightly complicated concept,
it was performed easily and imaginatively, with good humor and much
charm.” Svenska Dagbladet, 22 November 2015
La Bohème, Sweden:
“The premiere of La Bohème in a Scandinavian version received a
standing ovation at the Royal Opera House. Tenor José Cura, who
directed, has chosen to place the performance in the Old Town of
Stockholm. The production is beautiful, stylish, touching and
professional on all levels. It is worth seeing if only because it
is so nicely executed and thoughtful and in-depth. In today's
Sweden, where so many performances have minimalist sets, it is
wonderful to experience one that does not skimp on the staging: we
are really placed in an attic populated by Bohemians in the old town
in the 1800s. This production tells the story strongly yet still
speaks to the modern audience. I hope colleges and other schools
with young people book tickets: it presents just the right ideas to
allow people discover the great world of opera.” Kulturbloggen,
22 November 2015
La Bohème, Sweden:
“…an elegant transfer from the quarters in Paris to the Old Town…”
Expressen, November 2015
La Bohème, Sweden:
“Puccini wasn’t a big fan of overtures in operas, preferring to dive
right into the action. But he gets one in this new staging of La
bohème, with strains of Edvard Grieg’s Morning sketched out
on a battered piano. Grieg? Well yes, because this is Stockholm’s
Scandinavian bohème, where Puccini’s Schaunard is recast as Norway’s
most famous composer alongside August Strindberg as Rodolpho, Edvard
Munch as Marcello and Søren Kierkegaard as Colline. The conceit and
its realisation are the work of the Argentine superstar tenor,
sometime conductor and now director-designer José Cura. It is sung
in Italian, but with proper names changed, so we hear of “Augusto”
and “Eduardo”; Musetta is “Tullita”, after Munch’s lover Tulla
Larsen, and Marcello’s painting of the Red Sea becomes one of
Munch’s studies of Tulla’s flood of flowing red hair. The elegantly
conceived set, inspired by Stockholm’s old town, and effective 1880s
costumes present nothing unusual, though the stage is for the most
part backed by projections of Munch’s paintings. t’s a roaring
success… the wit is genuine and
there is a sufficient number of lovely touches — particularly
Colline’s surrendering his philosopher’s wig and coat: Kierkegaard
died before Munch was born — to ensure nothing blocks the
waterworks.”
Financial Times. 24 November 2015
La Bohème, Sweden:
“It flatters our vanity that the Argentine superstar Cura has come
here and sees Sweden in Puccini’s indestructible opera. It’s
love—he sees us and on stage he sets up August and Edvard and they
go to the Red Room in Berns and the celebrations that take place on
the square at the Christmas market. Munch’s paintings are displayed
on the screen. Cura has therefore done it all—directing, stage
design, costumes, lighting and make-up and the beginning is
tantalizing with several small transformations. […] What remains is
a good set.” Sveriges Radio, 25 November 2015
La Bohème, Sweden:
“The end result is a wholly engaging performance, basically
conventional but fresh with the Nordic setting and the revamped
characters. There are many comical moments in the original and Cura
never underplays them. This Bohème is grossly entertaining
and there were laughter and giggles a-plenty during the premiere
evening but the love-scenes and the tragedy, sketched in act III and
culminating with Mimi’s death were indeed heartrending and many a
tear was shed during the finale. José Cura is indeed a phenomenon.
Besides being one of the world’s greatest tenors he has primarily
singlehandedly controlled all the various functions that build a
performance. A polymath, a Leonardo da Vinci of our time.
With the assistance of the Royal Orchestra and Chorus on their most
Italianate behaviour and with Daniele Callegari so flexible and
lenient towards the singers, this performance was the ideal
synthesis of music and words. All in all an utterly satisfying
production of La Bohème. The migration from Paris to
Stockholm works without a hitch.” Seen and Heard International,
30 November 2015
|