La bohème in Budapest Svetla Vassileva Mimi Budapest's architecture reflects the diversity of the city’s culture, with classical and baroque styles intermixed with Ottoman influences. At the ultra-modern National Concert Hall Puccini’s La bohème was semi-staged but that not in any way implying a reduced production. Props were minimal but the platform was large enough to accommodate the full activity of the Café Momus sequence, complete with on stage band. The scene was set very effectively by video projections of sketches of Paris, which neatly incorporated efficient surtitles. The Hungarian State Opera House orchestra, chorus and children’s chorus were joined an international cast of young singers led by Alfred Kim, a South Korean tenor of real promise, as Rudolfo and Svetla Vassileva as Mimi. Boris Statsenko (Marcello) had an unfortunate tendency to over-sing which emphasised the lack of vocal strength of his Musetta (Eszter Wierdl). However, both Ádám Horváth (Schaunard) and András Palerdi (Colline) impressed favourably. The orchestra was in robust mood, and the acoustics of the hall were impressive. A highlight of my weekend was a rare chance to see operetta in its home surroundings,
at Budapest’s Operettszinhaz, performed with light hearted zest at a matinee the same afternoon. Located in an elegant boulevard in the heart of the theatre district, purpose built in 1922, and lovingly restored, its glittering chandeliers, velvet wall covering and gilded stucco decorations add the finishing touches of glamour to the occasion, the theatre runs on the repertory system with a dozen or so productions overlapping - the cast for the day is just displayed on a board in the foyer. Mágnás Miska (Mike the Magnate) is by Albert Szirmai, one of the trio of composers at the heart of the Hungarian operetta tradition. Later in life he moved to New York, changed his name to Sirmey and joined the music publishing houses of Harms and Chappells, where many Cole Porter and Richard Rodgers Broadway scores came under his editorial guidance. Serena Fenwick |