Sign in

Password Assistance Sign up



La Bohème: Initial Reactions
La Bohème premiered on May 11 and 13 to a full house. With the audience still weeping from the tragic final scene, reactions and detailed reviews have been appearing in both online media and print.


The critics have evaluated the conception, director’s interpretation, set design, lighting, orchestral sound and the work of the vocalists — in short, every element of the show.

La Bohème represents “a clear triumph of theatre”, according to Nezavisimaya Gazeta. “It is so rare these days to come across a theatre production displaying such sensitivity and attention to what is taking place on the stage and to the plot turns. Indeed, it is no longer easy to find such features in Russian theatre”, writes columnist Grigory Zaslavsky (Nezavisimaya Gazeta, May 12, 2011).

Delovoy Peterburg commends the musical interpretation: “The orchestra, led by Peter Feranec, held, caressed and lulled the vocalists, he was flexible and expressive, so that all the beauty of the score gave pure pleasure.” (Dmitry Tsilikin, La Bohème as it is, Delovoy Peterburg, May 12, 2011).

Openspace.ru writer Ekaterina Biryukova considers La Bohème to be “impeccably staged” and notes that “it is hard to find any fault with it.” “A final lump in the throat” is guaranteed by the duet, and equally by the set itself. “Rose petals strewn on the deathbed (not on a bed of love) provided a final dramatic splash of colour in this black and white scene.” (E. Biryukova, La Bohème at the Mikhailovsky, Openspace.ru, May 13, 2011).

Fontanka.ru notes the careful direction and its subtle approach to lighting decisions. “Arnaud Bernard separates the choral refrain and the Brownian movement of the crowd from the ensemble and the solos with light”, writes Gulyara Sadykh-Zade. “The crowd literally freezes up mid-run, as if someone had pressed the pause button. Then, the solos begin. The overall effect is very impressive.” (La Bohème at the Mikhailovsky Theatre: European Standards in Shades of Grey, Fontanka.ru, May 16, 2011).

During the premiere performances, the soloists attracted particular interest from the music critics in attendance. According to Izvestia newspaper, “In keeping with a modern approach, the theatre made the wise choice not to place its dependence on established soloists, but instead formed the pleasant bohemian group from six young singers. Young native of Kingisepp, Olga Tolkmit, was a real sensation in the role of Mimi. Her shyness, brought on by debutante’s nerves, were perfect for the role, as was her clear, light soprano.” (Maria Babalova, The Short Skirts of Parisian Bohemians, Izvestia, May 16, 2011). Delovoy Peterburg concurred with this view: “At the premiere the dramatic voices came together: with guest vocalist Marius Manea, who possesses a handsome manly tenor (Rodolfo), and baritone Ales Jenis (Marcello) being equalled by Olga Tolkmit (Mimi) and Natalia Mironova (Musetta).” (Delovoy Peterburg, May 12, 2011). “With its soloists, the theatre has proved its capabilities once again this year”, states Openspace.ru, calling on readers to commit the names of the young group of soloists to memory. Izvestia summed up its impressions of the premiere by commenting, “it is hardly surprising that all the tickets for the premiere performances of La Bohème had long since sold out.”