La bohème
by Giocomo Puccini Presented by Florida Grand Opera Photography by Daniel Azoulay
La bohème
by Giocomo Puccini Presented by Florida Grand Opera Photography by Daniel Azoulay
About the Photographer, Daniel Azoulay Daniel Azoulay has made a career of photographing some of the most beautiful people and places in the world but his favorite subject is change. An artist fascinated by the act of looking at the world through his lens, Azoulay constructs his work as a meticulous web of images that capture change in details often hidden in plain view. Born in Casablanca, Morocco and raised in Israel, Azoulay studied photography in Denmark and became a fashion photographer for major publications and advertising agencies in Copenhagen, Paris, Milan, and London. In 1970, he moved to New York City where he shot for top magazines including Vogue, Glamour, Harpers Bazaar, and Mademoiselle. Taking advantage of his extensive traveling, Azoulay also built an enormous body of personal work comprising of portraits, landscapes, and what he defines as “social photography;� including forbidden Hong Kong and the trails in Burma.
In the early 1980's, he relocated to Miami where he continued to work in the fashion world even as he remained committed to expanding his own portfolio. In 2001, he opened the Daniel Azoulay Gallery with the \purpose of promoting contemporary photography by emerging and established artists both nationally and internationally. Azoulay is an active member of the art community in Miami; lecturing, conducting portfolio reviews at major art schools, and sponsoring photography scholarships at universities. In 2010, Azoulay started a new chapter of the Miami Music Project, an organization that uses music as an instrument of social change. Much of Azoulay's current work is also part of his philanthropic activity; as proceeds from the books pertaining to the JAZZ ROOTS concert series, PAMM - Perez Art Museum Miami, and the Miami City Ballet will be donated toward scholarships and programs that support young talent.
From the General Director and CEO, Susan T. Danis
Dear friends: Welcome to the 78th Season of the Florida Grand Opera! What an accomplishment for our company, our audience and for South Florida. I can hardly believe that this is my fifth season bringing you productions that enlighten this experience; opera for everyone not diminished in simplicity to easy listening but rather art adn emotion that speaks to each of us.
We are pleased to present operas for anyone who cares to see the illunation of a lesser-known masterpiece, experience a 20th century work, or simply understand timeless classics in new ways.
We have committed patrons who truly love FGO, Board members who embrace and are determined to realize our goals, and a staff who never fails to go above and beyond to make it all happen.
Inclusion continues to be one of the cornerstones of our mission. We offer programs for children and adults of all ages that help to bring the magic of opera to their lives. We strie to include those at the fringes of society who might never have the opportunity to experience this amazing art form. Our Made for Miami series continues to connect with the many diverse people of South Florida.
Last but not least, I extend a special thanks to our wonderful Principal Conductor, Ramรถn Tebar, to Jennifer Kronenberg and Carlos Guerra of Dimensions Dance Theatre of Miami for the beautiful ballet in Orfeo ed Euridice you have experienced; and to our outstanding Board Chair, David Treitel.
As our 2017-18 Season comes to a close, I am reminded of how thankful I am to be a part of such a historical significant company.
Together, our hard work, vision, and commitment are shaping a brillinat future for Florida Grand Opera. Enjoy the opera! Susan T. Danis
The Cast & Crew Mimì Adrienn Miksch Rodolfo Alessandro Scotto di Luzio* Marcello Trevor Scheunemann Musetta Jessica E. Jones Colline Simon Dyer Schaunard Benjamin Dickerson Benoît/Alcindoro Tony Dillon Parpignol Lievens Castillo Custom-House Officer Pablo Menvielle Sergeant Enrique Estrada Prune Man Orlando Valdes Child Max Leighton
Conductor Ramón Tebar Director Jeffrey Marc Buchman Production Michigan Opera Theatre Set Designer Michael Yeargan Lighting Designer Stevie Agnew* Principal Costume Designer Howard Tsvi Kaplan Chorus & Super Costume Designer Walter Mahoney*+ Wig and Make-Up Designer Sue Schaefer Chorus Master Katherine Kozak Assistant Conductor Michelle Rofrano* Assistant Lighting Director Eve Bandi*
Production Stage Manager Megan Bennett Assistant Stage Managers Bryce Bullock Hannah Holthaus Projected English Titles Karl W. Hesser Projected Spanish Titles Dreambay Enterprises Supernumeraries Claude Aubourg Valerie Bressler Tony Davis Margie Eisenberg Humberto Gomez Franco Pejoves Sebastian Pinillos (*) Florida Grand Opera Debut (+) Deceased Production originated at San Francisco Opera.
Act I
In a garret: Paris, Christmas Eve The painter Marcello and poet Rodolfo are distracted by the cold. Marcello is also frustrated because of a woman: his fingers are frozen, he says, as if he were holding them in the glacier of Musetta’s heart. Rodolfo throws his manuscript into the stove, providing a burst of heat. Colline, a philosopher, joines them. The flames die, to cries of “down with the author,” when the musician Shaunard appears with food, wine, and money. As the friends celebrate, Benoit, their landlord, arrives, looking for back rent. Marcello invites him in, serves him wine, and feigns outrage when Benoit boasts of amorous adventures. The bohemians toss him out and leave for dinner. Rodolfo stays behind to work, saying he’ll join the others shortly. He hears a knock. It is a neighbor, Mimì. She has a coughing fit, then faints, dropping her candle and key in the process. Rodolfo relights her candle, but it blows out, as does his. Hunting for her key, they touch. Rodolfo notices her hand is cold and tells her about himself, letting her know that he finds her attractive. She responds, revealing her gentle nature and vivid imagination. Rodolfo’s friends call from below. Rodolfo shouts back that he is no longer alone. He and Mimì are in love.
L'amore è un caminetto che sciupa troppo... E in fretta! Dove l'uomo è fascina. E la donna è l'alare... L'uno brucia in un soffio... E l'altro sta a guardare! Ma intanto qui si gela! E si muore d'inedia!
Abbasso, abbasso l'autor!
Le dovizie d'una fiera il destin ci destinò...
Ăˆ la morale offesa che vi scaccia!
Andiam. Io resto per terminar l'articolo di fondo del Castoro. Fa presto.
La prego, entri. Si sente male?
Che gelida manina! Se la lasci riscaldar. Cercar che giova? Al buio non si trova. Ma per fortuna è una notte di luna, e qui la luna l'abbiamo vicina. Aspetti, signorina, le dirò con due parole chi son, chi son, e che faccio, come vivo. Vuole? Chi son? Chi son? Sono un poeta. Che cosa faccio? Scrivo. E come vivo? Vivo. In povertà mia lieta scialo da gran signore rime ed inni d'amore. Per sogni e per chimere e per castelli in aria l'anima ho milionaria.
Talor dal mio forziere ruban tutti i gioielli due ladri: gli occhi belli. V'entrar con voi pur ora ed i miei sogni usati, ed i bei sogni miei tosto si dileguar! Ma il furto non m'accora poichĂŠ, poichĂŠ v'ha preso stanza la speranza. Or che mi conoscete parlate voi. Deh parlate. Chi siete? Vi piaccia dir?
Mi chiamano Mimì. Il perché non so. Sola, mi fo il pranzo da me stessa. Non vado sempre a messa, ma prego assai il Signor. Vivo sola, soletta, là in una bianca cameretta; guardo sui tetti e in cielo. Ma quando vien lo sgelo il primo sole è mio, il primo bacio dell'aprile è mio! Il primo sole è mio. Germoglia in un vaso una rosa, foglia a foglia l'aspiro. Così gentil è il profumo d'un fior. Ma i fior ch'io faccio, ahimè, i fior ch'io faccio, ahimè non hanno odore. Altro di me non le saprei narrare. Sono la sua vicina che la vien fuori d'ora a importunare.
Act II
In the Latin Quarter Crowds of people, shopping and socializing, mill around outside CafĂŠ Momus. Colline is pleased to find a good secondhand coat; Rodolfo buys MimĂŹ a pink bonnet.
The friends settle in at the café when, to Marcello’s dismay, Musetta enters with her escort, a rich old man named Alcindoro. She flamboyantly attempts to attract Marcello, who avoids her. She breaks down his resolve, much to the amusement of his friends, by publicly, seductively, calling attention to the pleasure she takes in being admired. Marcello cannot resist. Feigning a hurt foot, Musetta sends Alcindoro off to buy shoes, then falls into Marcello’s arms. She directs the waiter to give the bohemians’ bill to Alcindoro. The group runs off into the crowd with Musetta on their shoulders.
Parpignol! Parpignol! Parpignol! Ecco Parpignol! Parpignol! Col carretto tutto a fior! Ecco Parpignol! Voglio la tromba, il cavallin! Il tambur, tamburel... Voglio il cannon, voglio il frustin, dei soldati il drappel.
Oh! Musetta!
Tali nomignoli, prego, serbateli al tu per tu.
Non secc-a-a-ar!
Tu non mi guardi.
Sappi per tuo governo che non darei perdono in sempiterno
Quando men' vo soletta per la via, la gente sosta e mira, e la bellezza mia tutta ricerca in me, ricerca in me da capo a piè. Ed assaporo allor la bramosia sottil che dagli occhi traspira e dai palesi vezzi intender sa alle occulte beltà . Cosi l'effluvio del desio tutta m'aggira. Felice mi fa, felice mi fa.
Paga il signor!
Act III
At the Barrière d’Enfer: Winter Before daybreak, sweepers at the tollgate call for the guards to let them enter. Countryfolk arrive en route to their markets. Meanwhile, nighttime revelries continue at a nearby tavern. Mimì asks a sergeant for directions to the tavern. She seeks Marcello, who, with Musetta, works there. She tells Marcello that Rodolfo is overly jealous and suspicious of her. When Rodolfo emerges from the tavern, she hides. Rodolfo confides to Marcello that he must leave Mimì because her flirtatiousness drives him crazy, then admits that her bad health is to blame. He feels remorse because he can’t afford to care for her. Mimì, overhearing, realizes that she might die. As she sobs, Rodolfo finds her. Suddenly, Marcello hears Musetta’s laugh and, jealous, runs into the tavern. Mimì bids Rodolfo farewell, but the two agree that parting in winter is difficult: They’ll wait until April. Marcello and Musetta break up.
Chi nel ber trovò il piacer nel suo bicchier, d'una bocca nell'ardor trovò l'amor.
Rodolfo m'ama e mi fugge. Rodolfo si strugge per gelosia. Un passo, un detto, un vezzo, un fior lo mettono in sospetto... onde corrucci ed ire. Talor la notte fingo di dormire e in me lo sento fisso spiarmi i sogni in viso. Mi grida ad ogni istante: non fai per me, ti prendi un altro amante,non fai per me. Ahimè! In lui parla il rovello, lo so; ma che rispondergli, Marcello?
Già un'altra volta credetti morto il mio cor. Ma di quegli occhi azzurri allo splendor esso è risorto. Ora il tedio l'assale... E gli vuoi rinnovare il funeral? Per sempre! Cambia metro. Dei pazzi è l'amor tetro che lacrime distilla. Se non ride e sfavilla, l'amore è fiacco e roco. Tu sei geloso. ... Lo devo dir? Non mi sembri sincer. bbene, no. Non lo son. Invan, invan nascondo la mia vera tortura. Amo Mimì sovra ogni cosa al mondo. Io l'amo! Ma ho paura. Mimì è tanto malata! Ogni di più declina. La povera piccina è condannata...
Al solitario nido ritorna un'altra volta a intesser finti fior. Addio senza rancor. - Ascolta, ascolta. Le poche robe aduna che lasciai sparse. Nel mio cassetto stan chiusi quel cerchietto d'or e il libro di preghiere.
Involgi tutto quanto in un grembiale e manderò il portiere... Bada, sotto il guanciale c'è la cuffietta rosa. Se vuoi...serbarla a ricordo d'amor... Addio, senza rancor.
Io non faccio da zimbello ai novizi intraprendenti. Vana, frivola civetta! Ve ne andate? Vi ringrazio, or son ricco divenuto.
Fo all'amor con chi mi piace. Non ti garba? Fo all'amor con chi mi piace. Musetta se ne va.
Ci lascierem alla stagion dei fior!
Act IV
In the garret Rodolfo and Marcello each report on having seen the other’s former girlfriend. They voice pleasure that the women are prospering, but their feelings are reflected in their inability to concentrate on work. Shaunard and Colline arrive with food. The four are interrupted by Musetta: Mimì is on her way, too weak to climb the stairs. They bring her in and put her to bed. Musetta leaves with Marcello to fetch a doctor. Colline decides to sell his coat, taking Shaunard off so that Mimì and Rodolfo can be alone. The two reminisce about the night they met. When the others return, Musetta gives Mimì a muff to warm her hands, allowing her to think it is from Rodolfo. Mimì drifts off to sleep. As the friends wait for the doctor, they realize that Mimì has died. Rodolfo learns of it from the others’ faces. He cries out her name.
O Mimì, tu più non torni. O giorni belli, piccole mani, odorosi capelli, collo di neve! Ah! Mimì, mia breve gioventù.
Questa è cuccagna da Berlingaccio.
C'è Mimì...c'è Mimì che mi segue e che sta male... Nel far le scale più non si resse.
Intesi dire che MimĂŹ, fuggita dal Viscontino, era in fin di vita. Dove stia? Cerca, cerca...la veggo passar per via, trascinandosi a stento. Mi dice, "PiĂš non reggo... Muoio, lo sento... Voglio morir con lui... Forse m'aspetta... "
Lascia ch'io guardi intorno. Ah, come si sta bene qui. Si rinasce, si rinasce...
Ancor sento la vita qui... No, tu non mi lasci piĂš...
A te, vendi, riporta qualche cordial. Manda un dottore!
Sono andati? Fingevo di dormire perchĂŠ volli con te sola restare. Ho tante cose che ti voglio dire, o una sola ma grande come il mare, come il mare profonda ed infinita... Sei il mio amor...e tutta la mia vita.
Mimì!...Mimì!...Mimì!...
A Look Behind-the-Scenes
The Florida Grand Opera Orchestra Jeff Adkins Madison Allen John Antisz Nadine Asin Ruby Berland Felicia Besan Anna Brumbaugh William Bryant Jr. Brent Charran Huifang Chen Monica Cheveresan Anne Chicheportiche Paul Chinen Franz Felkl Molly Flanagan Scott Flavin Orlando Forte Carly Gordon Roberto Henriquez Kevin Ildefonso Akmal Irmatov
Claudio Jaffé Lily Josefsberg Morena Kalziqi Kevin Karabell Kay Kemper Yael Kleinman-Hyken Svetlana Kosakovskaya Rhonda Kremer Nora Lastre Marina Lenau Jessica Lyons Blocher Luciano Magnanini Jaime Mansilla Valentin Mansurov Germán Marcano Gary Mayone Szilard Molnar Federico Montes Joseph Monticello Jorge Morera
Jessica Myers Brian Myhr Michael Nuñez Scott O'Donnell Alfredo Oliva Evija Ozolins Chauncey Patterson Juan Peña Maciej Pietraszko Alexander Ramazanov Marc Reese Salvador Sáez Julian Santacoloma Aziz Sapaev Mark Schubert Rick Urban Karlyn Viña Robert Weiner Abby Young Mario Zelaya
The Florida Grand Opera Chorus Emilia Acon CJ Baik Thomas Ball Lievens Castillo Ana Maria Conte-Silva Donna Lane Creasman-Downey Linda Deighan Alexander Diaz Damian Diaz Enrique Estrada Veronica Fink-Menvielle Everett Ford Fernando Gonzalez Danielle Krause Darren Littman
Miguel Llerena Ravenna Maer Joanne Martinez Heather McLeod Pablo Menvielle Lucia Minervini Khrista Orantes Lisa Gansar Pitman David Ramcharitar Michael Ross Melissa Ruiz Kevin Smith Michael Testa Orlando Valdes Nina Wall
Children's Chorus
Bianca Benson Aubre Boose Max Leighton Caden Lewis Kirstyn Lowry Mia Francesca Martinez
Ava-Riley Miles Tal Naider Eliana Nitsberg Dhilani Premaratne Fernando Pupo Pablo Pupo
This book was created for Florida Grand Opera. Florida Grand Opera is celebrating its 78th year of continuously producing grand opera for the 2018-19 Season. The mainstage operas of the season include: Giacomo Puccini’s La bohème, Wolfgang Amadeus Mozart’s The Marriage of Figaro, Robert Xavier Rodriguez’s Frida, and Jules Massenet’s Werther. Copyright 2019 by Daniel Azoulay who retains sole copyright in his contributions to this book