Bohemian Rhapsody
By Daily Bruin Staff
Nov. 28, 2000 9:00 p.m.
 Photos from LA BOHEME L.A. Opera is putting on a revival
of the timeless favorite "La bohème", a love story set in
19th-century Paris, directed by a UCLA alumnus.
By John Mangum
Daily Bruin Contributor
For Christopher Harlan, “La bohème” might just
be the perfect opera.
“There is not a single measure in the score that could be
cut,” said Harlan, who directs the Los Angeles Opera’s
revival of their acclaimed production opening Nov. 29. “Every
note, every line is perfect. Puccini’s real talent was
finding the right music to tug at the heart.”
Puccini’s “La bohème” has been a favorite
with audiences since its premiere in 1896. The opera follows a
group of Bohemians in 19th-century Paris and the love between
Rodolfo and Mimì ““ who is dying of tuberculosis. Its
story inspired the Broadway musical “Rent,” the most
recent proof of the opera’s enduring popularity.
L.A. Opera’s production is a great evening of theater
““ at least it was in its most recent revival in 1997.
Conceived by film director Herbert Ross (“Footloose,”
“The Turning Point”), the production premiered in 1993
with Harlan as assistant director.
Harlan, who has been associated with L.A. Opera since the
company’s inception in 1986, is particularly anticipating
this revival because of the cast, which includes soprano Leontina
Vaduva, who sang the lead soprano role in L.A. Opera’s
production of “Faust” last year, as Mimì; tenor
Aquiles Machado, a past winner of Plácido Domingo’s
Operalia competition, as Rodolfo; and soprano Inva Mula as
Musetta.
“Everyone in the cast knows each other and has worked
together somewhere else, on some other show,” Harlan said.
“Rather than having to work two hours to build camaraderie
between the four boys at the beginning of the piece, it was already
there.”
“I knew that Leontina was going to be brilliant because of
her work on “˜Faust’ last year,” he continued.
“Leontina is just a goddess. I can’t say enough about
her.”
 Christopher Harlan directs Puccini’s "La bohème",
which opens today at the L.A. Opera. Harlan has the experience in
opera to know a goddess when he works with one. He’s been
directing opera since he graduated from UCLA in 1980.
He was a student in the UCLA School of Theater, Film and
Television, studying with professor Michael Hackett. Harlan knew he
wanted to do opera from the moment he entered the program, so
Hackett had him direct Molière and other works that would
prepare him for his chosen specialty.
Furthermore, Harlan spent four summers as a stage assistant at
Germany’s prestigious Bayreth Festival, an annual festival
devoted to the operas of Richard Wagner. At UCLA, Harlan worked
with renowned opera directors Patrice Chéreau and Peter
Hall.
In his capacity as an assistant director at the L.A. Opera,
Harlan has worked closely with other directors, taking note of
everything important to the genesis of a production. Now, when a
production like “La bohème” is revived, with
Harlan as director, he can recreate it as faithfully as
possible.
“Herbert Ross is a film director, and he thinks about
detail and close-ups,” Harlan said of the original director.
“The production has a close-up feel. It’s involved with
character rather than spectacle.”
That faithfulness doesn’t mean, however, that
Harlan’s creativity is stifled. Most productions require a
little bit of tweaking during a revival, and Harlan always puts his
own stamp on a work.
This “bohème” is no exception. As Harlan
described his approach to the spectacular Christmas Eve crowd scene
in Act Two, when the Parisians are shopping for gifts and hanging
out in cafés, the differences between his approach and
Ross’ become apparent.
“Organized chaos was what Herb had done,” Harlan
said, describing Ross’ take on the scene. “It was
terrific. He gave each person a story ““ the waitress was late
for work, and she had to get bread and get to the tavern before her
boss realizes she’s late.”
“Moment by moment, he had everyone at a specific
place,” he said. “I’ve taken the first half but
not the second, giving everyone a character but allowing them more
freedom on stage. This time, one guy decided to be a pickpocket
““ it was really sweet. He feels like he’s participating
and that communicates to the audience.”
This communication is really the point of a work like
“bohème.” The music is indestructible, the story
is moving and the setting can be spectacular. It’s always a
crowd-pleaser.
For Harlan, understanding the work’s undying popularity
boils down to one thing: “We all love a great love
story.”
OPERA: L.A. Opera presents Puccini’s
“La bohème,” directed by Christopher Harlan. There
will be nine performances beginning Nov. 29. Tickets are $28-$148;
$20 student and senior rush tickets one hour before curtain,
subject to availability. For more information, call 213-972-8001 or
visit www.laopera.org.
