6/12/2023 0 Comments Opera neon drawbacks![]() “He’s outlining the solitude, the despondency of being alone - really, really alone. “I think for the newcomer this will be tricky to figure out,” Pérez said. As he approaches his end, Mimì’s spirit lives. These are all apparitions of Rodolfo’s distant youth. Men in space suits amble in low-gravity gaits and nap in sleep pods, mixed in among a hallucinatory spectacle: a boy with large red balloon, an illuminated yellow Chinese dragon, acrobats, juggling waiters and a stiltwalker. Indelible images of inconsolable isolation were created by Pluss, Eva Dessecker (costumes), Fabrice Kebour (lighting), Teresa Rotemberg (choreography) and Arian Andiel (video). “When I thought two times about this and I listened once again to the opera, I really thought it was what Puccini could have dreamed to imagine, because he’s speaking already about this in his music,” Pluss said. He estimated nearly 200 LED and neon lights were used. Set designer Étienne Pluss, taking inspiration from Stanley Kubrick’s “2001: A Space Odyssey, ” created a doomed spaceship on a raked stage for the first two acts and a bleak planet for the final two - substituting ashes for snow in Act 3. Guth envisions the action unfolding across an unspecified future, perhaps 50 years from now or possibly 1,000. Lionel Richie, Katy Perry sing for royal coronation concert ![]() Posters of the moonscape set used in the final two acts have been plastered throughout the Paris Métro for months. Soprano Ailyn Pérez takes over as the terminally ill seamstress Mimì, tenor Joshua Guerrero is the poet Rodolfo and Michele Mariotti will be in the pit. 1, 2017, weighed on the German director’s mind when he arrived at the Bastille Opéra last week to supervise the first revival of his staging, which opens Tuesday night for a run of 12 performances through June 4. “The real premiere was bizarre because some people freaked out so early that Dudamel had to stop conducting once because there was just too much booing,” Guth recalled. Three nights later at the official opening of the Paris Opéra’s first new “Bohème” in 22 years, a high-profile occasion featuring conductor Gustavo Dudamel’s formal company debut, the response was far different. “It was an amazing performance with standing ovations.” Claus Guth was pleased with initial reaction to his outer space version of Puccini’s “La Bohème” at a special pre-premiere show limited to people under age 28.
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