Review | Opera Hong Kong’s La Bohème effortlessly adapts the Parisian tale to modern times, with superb performances by the singers
- Opera Hong Kong’s La Bohème featured a cast of outstandingly talented young local singers in its 19th-century Parisian tale transposed to modern times
- The future of Opera Hong Kong – and opera in Hong Kong – looks bright, a testament to the passion and dedication of artistic director Warren Mok
Following an excellent La Traviata October in 2022, Opera Hong Kong this month brought us another heroine dying of consumption in a stunning production of Giacomo Puccini’s La Bohème.
One of the things that makes La Bohème such a favourite among operas is its evocation of everyday life and of ordinary people experiencing happiness and sorrow.
Tang has done a particularly fine job of bringing out that aspect: each scene is full of little details that help bring the characters to life, and a flawless balance is struck between comedy and tragedy.
The setting really brings home how universal the story is: four friends share a cheap flat and pool their resources; the fiery Marcello and his feisty Musetta ride the ups and downs of their classic romcom relationship; Rodolfo and Mimi suffer a doomed romance – they all fit just as well into today’s Hong Kong as they do in the Paris of 130 years ago.
The designs play a key role in achieving this. Tsang Man-tung’s sets and Henky Chan’s video – including a lovely backdrop of Victoria Harbour’s Christmas lights – place us firmly in Hong Kong, while Cindy Ho’s spot-on costumes offer apt parallels to the original characters.
The acting from the whole cast was refreshingly natural and convincing. The four friends – Rodolfo (Wang Kang), Marcello (Michael Lam), Colline (Freddie Tong) and Schaunard (Lam Kwok-ho) – had a wonderful, easy rapport and their banter and horseplay worked beautifully.
Louise Kwong was a poignant Mimi – her fragile appearance is ideal for the role – while Anna Zhang was a deliciously lively Musetta. Smaller roles like Benoit (Jim Price) and Alcindoro (Edmund Kwan) were equally well played and extremely funny.
The singing throughout was quite superb. Chinese-Australian tenor Wang, who had already made a strong impression in La Traviata, was an ardent, moving Rodolfo and brought the house down with a glorious “Che gelida manina” in act one.
The Hong Kong singers were a revelation. Kwong’s voice, full of power and luscious tone, was perfect for Puccini – this young soprano, who hit her notes effortlessly, is destined for great things. The even younger Zhang has a lovely lyrical voice and also seems set for stardom.
Lam was a splendidly macho, endearing Marcello with a rich, ringing baritone, while bass-baritone Tong demonstrated his ability to make every character he plays vividly real.
La Bohème was accompanied by an assured, full-toned rendition of the score by Opera Hong Kong’s own orchestra, a testament to the quality of the musicians and the fine conducting of Roberto Gianola.
It is fitting that the company should celebrate its 20th anniversary with a production celebrating Hong Kong and showcasing so much of the city’s talent.
La Bohème, Opera Hong Kong, Hong Kong Cultural Centre Grand Theatre. Reviewed: January 13, 2023
