Then again, this “Bohème” turns out to have more than a little to say about what Domingo has meant and will continue to mean artistically, in ways positive and problematic, if and when he steps down. Opera’s cute promo, promising that it’s OK to cry because the theater will be dark, is false advertising.
Tragedy here is not comfy Italian opera pathos but, as with the ancient Greeks, knowledge.
Paris on Christmas Eve is a gathering of all types in their astonishing extravagances. Women in this brilliant “Bohème” are newly and importantly empowered. This is Puccini for a new generation, for a world moving on. It represents a brilliant new way of looking at not only an operatic chestnut but also at theater itself.
has been a mission of the company’s forward-looking president and chief executive, Christopher Koelsch. There was no traditional welcoming letter from the general director in the program.ĭomingo, furthermore, presumably had nothing to do with the new Barrie Kosky production of “La Bohème,” other than to sign off on it. The opening Saturday night of Los Angeles Opera’s 34th season in the Dorothy Chandler Pavilion, at a time when the company is investigating its general director over accusations of sexual impropriety, was not about Plácido Domingo.
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