TheLittleSongbird This Baz Luhrmann La Boheme is just lovely. I would have the 1988 SF production or the 1965 production as first choices over this one, that said, coming from someone who finds Luhrmann's filmography very hit and miss I very much enjoyed this Australian production of La Boheme.Visually, it is beautifully done, with the whole production shot lovingly with no overblown editing in sight. The acts 1 and 4 settings are well-lit and appropriate, but for sets I found act 2 was the most effective. The costumes are sumptuous, with Mimi looking very angelic dressed in white. Staging is also great, act 2 is busy without being too chaotic, the end of act 1 is understated, and the quartet and act 4 are just heart-breaking as they should be.From a musical point of view, this La Boheme also excels. The orchestra bring out the pathos and beauty of Puccini's magnificent score wonderfully and the conducting is nicely genteel while never becoming stodgy. Chorus work is excellent, especially with the ladies, though the start of act 3 with the men is characterful and mostly in tune.You also have great performances. It is true that David Hobson's tenor voice is quite lightweight and perhaps on the thin side. This in mind, he does sing beautifully with no obvious strain and uses the voice musically, and at least he emotes and exudes good chemistry with Baker. Cheryl Baker is a wonderful Mimi, with her two shining moments being in Donde Leita Uschi and the whole of the final act. The end of act 3 with the snowballs may be corny to some, I personally found it quite affecting.Christine Douglas is a flirtatious and witty Musetta, and Robert Demke is great as Marcello, reacting well with Douglas during La Commedia Stupenda...Quando M'en Vo and blending beautifully with Hobson in In Un Coupe...O Mimi Tu Piu Non Torni. Colline is intelligently sung with a very musically phrased Vecchio Zimmara, Schaunard steals every scene he appears in and Benoit, Parpignol and Alcindoro are sung and acted with few problems at all.In conclusion, lovely. 8/10 Bethany Cox

Claudio Carvalho In the 50's, in Paris, the neighbors Rodolfo (David Hobson) and Mimi (Cheryl Barker) meet each other when Mimi's candle blows out in a cold and dark night. They immediately fall in love for each other, in times of financial difficulties in the post-war. Rodolfo introduces Mimi to his close friends Marcello (Roger Lemke) and his beloved Musetta (Christine Douglas); Colline (Gary Rowley); and Schaunard (David Lemke) and together they have a good-time in Café Momus. Some time later, Mimi tells Marcello that she can not support the jealousy of Rodolfo any longer and when Marcello discuss with Rodolfo, Mimi overhears the real reason for the behavior of her beloved Rodolfo.This is the first time I see "La Bohème", inclusive my greatest interest is to compare the Australian version on DVD with the version that will be played in Teatro Municipal next Friday in Rio de Janeiro. Baz Luhrmann's adaptation is a modern love story that recalls a musical instead of a conventional opera, and has excellent interpretations, highlighting David Hobson, Cheryl Barker, Roger Lemke and Christine Douglas in the lead roles. The camera is excellent, considering that it is a live presentation, inclusive with great closes. My vote is six.Title (Brazil): "La Bohème"

Gyran This film was one of those that I saw in the late 1990s when I was first allowed to watch opera. I was bowled over by the singing, the acting and the production. It is partly responsible for kindling my interest in opera and for encouraging me to explore further. Naturally, on this journey, I have seen many more Bohèmes, several of which I have reviewed on this site. In the process I have come to realise that the singing in this film is only Australian class rather than world class. David Hobson has a rather thin tone as Rodolfo and Cheryl Barker's delivery, as Mimi, is somewhat unemotional. Still I find the performances immensely moving and the stage direction by the young Baz Luhrmann is unsurpassed.Luhrmann sets the story firmly in Paris in 1957. We have lots of 1950's posters in the Bohemians' garret and, when we first see Marcello, he is flinging paint onto a canvas in the manner of an action painter. Such updates do always create incongruities. Mimi's dying of consumption in 1957 is a bit unlikely and I am fairly sure that they had electricity in Paris in the 1950s so all the business about Mimi's candle blowing out becomes a bit silly. Still, we do not mind because David Hobson and Cheryl Barker make such a sexy couple and Luhrmann has an original take on their groping for the key in the dark. On the rotating stage, their first act finale O Suave Fanciula takes place on the roof of their apartment in front of a neon sign reading "L'Amour". Mimi gently pushes Rodolfo away as he attempts to kiss her because it is too early in their relationship.There is a good Café Momus scene with effective performances from Roger Lemke as Marcello and Christine Douglas as Musetta. I liked the addition of Japanese tourists to the festivities. The breakup scene is gut-wrenching, on a split-level stage with Mimi down below overhearing Rodolfo's fears for her life and his need to get away from her for her own sake. Luhrmann saves two clever details for the final scene. When the lovers reminisce about finding the key, Rodolfo actually produces it from a string around his neck. Where the lovers embrace for the last time Mimi again refuses to kiss Rodolfo. This time it is too late.

Frank Dudley Berry, Jr. This is a superb staging of an opera that never fails. Singers have been cast for dramatic effect. David Hobson is particularly effective. Musical purists should look elsewhere (Hobson has a passable, but very light voice), but anyone else will really enjoy this production. That the director is Baz Luhrmann and it has a definite affinity with the new movie Moulin Rouge, adds to its value.