<< -- 4 -- Roderic Dunnett UNUSUAL CHEMISTRY
Schaunard and Colline are roles in which, in a sense, you can't go wrong.
Not just Boris Materinco's bluff, amiable, shambling Schaunard, but Valeriu
Cojocaru's more shyly considerate Colline, in Act II as well as his beautifully
diversionary Act IV aria, seemed to strike just the right note. The costumes,
right down to the different scarves (which take on a colourful irony with
the arrival of Musetta), were apt. The clowning with Viorel Szgardan's Benoit
(the unpaid landlord) seemed the one bit of fusty datedness in Eugen Platon's
long-tested production (a bit which could, incidentally, easily be revamped
by a director, or probably even by the singers themselves) compared with
a brilliant vignette in the recent Wroclaw State Opera staging (for a Chisinau
equivalent one thinks back to Nicolae Covaliov's energising vignette as
Barbarina's rubicund horticultural father, Antonio, in The Marriage of
Figaro); nor, it has to be said (solo front desk apart), are the Chisinau
strings as consistently up to scratch as that orchestra's (though the Moldovan
woodwind is top-notch and the brass often equally so). Szgardan made a much
better (and subtler) Alcindoro, Musetta's hapless diplomat sugardaddy, in
the Café Momus scene.
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Copyright © 15 February 2001
Roderic Dunnett, Coventry, UK
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