Rating: 
Summary: A classic production
Review: When Baz Luhrmann's production of 'the kindergarten' "La Bohème" premiered in Sydney on July 28, 1990, to all but unanimous acclaim (one critic may still be eating crow), who could have guessed just how famous it was to become. During the return season in 1993 a performance was recorded, televised both nationwide and internationally, and has been available since its release in 1994, firstly (and still) on VHS and then becoming the first opera to appear on DVD in 1998. There is even a CD of performance highlights, which continues to be popular in Australia. After many years of availability in the US (where it has not exactly gone un-noticed!) the DVD of what has now become a classic production has just been released in Europe, hopefully to have a similar impact on a whole new audience."Baz's Bohème" is deservedly famous on its own account, not relying on 'big' names for its success - the principals are largely unknown outside Australia - but because it is a beautifully filmed musical drama, performed by a cast of talented singing-actors who were as young as the characters they portrayed, and directed by an equally talented and even younger man on the threshhold of a remarkable career. The simple sets and costumes do not distract, but allow the viewer to concentrate more fully on the artists' performances which, compared to 'traditional' productions, are like a breath of fresh air.
(And, despite suggestions to the contrary, the singers were not cast for their 'looks' but their abundant artistic ability, as well as youth.) Of the "Bohème" cast of 'unknowns' only Cheryl Barker works overseas, and already had several years of international experience behind her when she was cast as Mimì in the 1990 production. She has sung in Europe, the UK and Canada, and in the US has appeared with the Minnesota Opera. Next year she will perform with the Houston Grand Opera twice, firstly in the world premiere of "The End of the Affair" (with husband Peter Coleman-Wright, and New Zealand baritone Teddy Tahu Rhodes), and then later in the year in her favourite role of "Madama Butterfly". Also married, and father of two, David Hobson has chosen to pursue his dual careers of composer and singer in his homeland, and apart from three CDs (one of which includes some of his own compositions) there are just two or three other performances - from the earlier part of his career - available on VHS and only in Australia. Currently singing in Sydney, in a pair of Rossini rarities - one of which contains a fiendishly difficult tenor aria - Hobson's work as a composer will again be heard when the film for which he wrote the classical score, "One Perfect Day", is released in October. Australia has many talented performers in the arts - particularly opera - but a surprising number prefer to remain at home, opting instead for a more stable lifestyle and normal family life. This may be a loss to the opera-world at large, but is our gain.
Rating: 
Summary: DIE YOUNG ....
Review: and leave a Great Corpse! Something along those lines ~ and this splendid revival of the perennial old warhorse does just that! Everyone's beautiful in this Australian showcase by Baz Luhrmann - even the orchestra. It's really a shameless tribute to the Glorious Technicolor musicals of MGM's heydays ~ very complete with vivd splashes of color [the purple bathrobe ... smokingjacket?], the black and plaid jacket, the vibrant yellow overcoat, etc. etc - and nobody, but nobody has a bad hair day here. Chemistry? Any more of that would incinerate the audience ~ never before has there been such a splendidly visual Rodolfo [the humble, God knows why? David Hobson! What a talent, perfect match of beauty and talent with just all the right nuances to make his Rodolfo eternally memorable - complete with the James Dean leather ensemble]. Mimi? Cheryl Barker - utterly female, vulnerable, yet so vital ion her portrayal, and she does have a waist, and she can sing and she too is an uterly stunning beauty from down under! What else are the Aussies hiding? Versatile bunch - from "Puppetry of the Penis" to this classis? The rest speaks for itself ~ shamelessly romantic, this is also a 'live' performance - shot with audience present, and yes, the stage-hands do move the well-executed sets around - touch of Kabuki there. Only minor flaw? The sound-mix ... quite a lot of foot-clomping here and there. This one's a pre-curser to Mr. Baz 'Moulin Rouge' and actually better - economical, but the leads! Don't keep them hidden down there ~ we need much more of Mr. Hobson and Miss Barker ~ rare, beautiful and ultra sensitive talents - merging perfectly with the material - now that's rare today - ensemble perfection! Catherine Martin and Bill Marron provide a new look at standard set design - [the massive electric 'L'Amour' sign]. It's just all positively 'drop dead gorgeousness' for all!
Rating:
Summary: DROP DEAD GORGEOUS!
Review: AND basically that's what it is ~ a shameful tribute to the glorious technicolor period of those fascinating MGM musicals ~ also quite a splendid introduction to this work for Young Opera Neophytes. Staging is very economical, shot during a live performance ~ one is aware of this and not distracted as the Stage-Hands ala Kabuki move the sets, etc. Colors are vivid - splashes on Violet, Yellow, Green Plaid and the occasional Red - and Nobody, but nobody has a bad hair day in this show. Eye Candy abounds, there's the stunning David Hobson / Cheryl Barker duo [and just Where is Hollywood's eyes on this pair]. Odd though - the later "Moulin Rouge" seems simply to be a reprise of this production complete with the look and design ~ would love to see Mr. Baz hit different notes ~ away from this gendre, but all in all there's not a dry eye in the house ~ highly recommended, especially for its youth! *** For fans who want more 'Hobson / Barker' ~ Miss Barker's 'Madame Butterfly' CD will be out soon, and the Supremely Versatile Mr. Hobson currently has three CDs available including the contemporary "Inside This Room".
Rating:
Summary: Electric !
Review: The singing is wonderful and the acting is superb. The camera shots are very well done (none of that nervous, artsy jumping around that drives me nuts--as in Moulin Rouge). The setting in the 1950's works well because it is not overdone. The subtitles are adequate--although, at times, I wish they were a bit more complete. Every so often, a chorus will sing something without a subtitle. You get the drift, but it would be nice to have the text. Overall, this is a keeper.
Rating:
Summary: AMAZING FILM
Review: I was first skeptical about watching this film. In fact, it sat in my room for 3 months before I actually got around to it. La Boheme is one of my favorite operas and so I judge it quite harshly. I am quite accustomed to the immortal Pavarotti singing Rudofo since that is the recording I have. But I figured what the Hell. And I'm glad I did. Because this is one AMAZING film. It is new and fresh. The singers are young and vibrant. I was iffy about the different time setting but I was pleasantly surprised. The set was gorgeous and amazing. Its mobility gave the production many more dimensions and brought a certain intimacy to the audience. The singers are not only beautiful people, but also have amazing voices and gifted actors. I was in tears the first time Mimi said good-bye to Rudofo and bawling by the end. The lighting, set, costumes, music, performers, and everything dovetail to make one of the most romantic and tragic stories new again. If you think you have seen every Boheme, see this. It is fabulous!
Rating:
Summary: Original & Gripping
Review: Sure the voices may be a little different, and won't be for everyone. In my opinion they are more than adequate. But the whole experience of the opera is exceptional. Ordinarily, I'm primarily looking for a sound experience, but I enjoyed this DVD more like I enjoy a good movie with a great soundtrack - involved in the story and the acting as much as the singing. All claims about microphones for amplification should be put to rest - both of these lead singers' voices penetrate even the acoustics of Sydney Opera Theatre very capably. 'Texastenor' may be confusing the opera theatre with reports about the concert hall. The concert hall (where the Sydney Symphony Orchestra plays) is far too big for singers to be heard over the orchestra on stage. Even when performing just with piano singers (like Renee Fleming last year) need to use a vocal enhancement system, or they would never be heard. But this doesn't happen in the Opera Theatre, despite its own design faults. There the singers have to fend for themselves, and Hobson and Barker do so better than many! Besides, the orchestral sound is swallowed by the stupidly designed pit stuffed deep under the stage, and that is one of the things being changed in the upcoming renovations.
Rating:
Summary: Breathtaking
Review: Baz Luhrmann is a genius. His works are visually and audibly stunning, and this is no exception. The two leads in this production do such an amazing job that at first I didn't think they were actually singing live - they make it look so effortless. The songs just pour forth in a spontaneous release of emotion that looks genuine and heartfelt. The more popular arias at the end of the first act were just stunning. I was so awe-struck that I had to watch them over and over before I could continue with the rest of the show. By the end, you'll be in tears. Even David Hobson (Rodolfo) was crying during the curtain calls, and I don't think it was just from the last scene. He looked truly overwhelmed with emotion - probably from the opera itself, as well as the exuberant adoration of the audience - and it was really quite touching to behold. He seems like a genuine article.
Rating:
Summary: Hobson was right!
Review: A couple of years ago David Hobson remarked that he seemed to have the sort of (untypical) operatic voice which divides opinion, and added that from the beginning of his career he could always be heard at the back of the theatre - even when singing with heavier voices - without having to try too hard!
In 1994, 18 months after the Bohème video was recorded, Hobson created the role of Danceny in the San Francisco Opera's world premiere production of Susa's "Dangerous Liaisons" singing with Fleming, Hampson and von Stade - not too bad for a 'tiny tenorino' voice!
In Bohème, Hobson's performance as Rodolfo was unique, and although the artist himself would demur, "made" the production - which is not to take anything away from his Bohemian colleagues, particularly the Lemke brothers - who had stiff competition!
Permit me to reiterate that, as someone who's heard Hobson sing 'live', and is eagerly looking forward to doing so again (several times, in fact) in coming months, I'm in a good position to comment on the true quality of his voice. He's a comparatively rare 'haute-contre' tenor with a seemingly limitless tessitura, and to hear him in action is a memorable experience, bringing to mind words like spine-tingling, stunning and awesome!
Rating: 
Summary: A response to zhaouhui60's "Hobson using microphone???"
Review: It is my understanding that Opera Australia mics all the singers because the acustics of the hall are not ideal. This is why they are rebuilding the hall with better acustics. Hobson's voice is not the ideal voice for Rodolfo who is tradionally the territory of the more romantic tenors. His voice is not offensive, it's just small and very pinched. In your defense and for the benefit of future listeners, no one should ever buy the Domingo recording of La Boheme. Domingo never has and never will have a high C, he barely has a high B. Everytime on a recording or a video where you hear him sing high notes in excess of a high B flat, one of two things is happening: the piece is transposed down so that the highest he has to sing is a B flat and; it's an inserted high note that the recording studio has in a data base. Oops the secreat is out. That's right there are hundreds of recordings of many famous singers who for one reason or another could not sing the high note and so the recording studio edited another one in for them. Now, Hobson has, in fact, sung many other roles in operas. They have been all in Austrailia. The roles he has sung are very light roles, mostly Mozart and Rossini. So, Mr. William Shields was right in calling him a "tenorino" because that's what he is. I suggest that you look him up on operabase.com and see what he's been singing and what he is singing. The type of roles that he is singing and the houses he is singing them in leeds me to believe that he is a singer that would have to be amplified in order to be heard above an orchestra. It is true that people cling to what they know. I have, however, not done this in my listening and viewing. I tend to gravitate towrads the lesser known singers. I would not necessairly call Hobson's voice a "great voice" the bottom line is he is just not that good as Rodolfo. I'm sure that he is a wonderful Mozart tenor and Rossini tenor, but he's no Puccini tenor.
Rating:
Summary: One of the worst La Boheme's I've seen in a while
Review: The only thing that saves this performance are Luhrmann's sets and costumes. David Hobson(Tenor-Rodolfo) "sings" (I use the " because it appears that he is not actually singing but rather mouthing to someone else) with one of the most nasal and brassy sounding voices I have heard outside the Rossini rep. Only every once in a while does he seem to line up. The Mimi of Cheryl Barker is tolerable at best, her high C at the end of the Act 1 duet is pinched and forced. Christine Douglas as Musetta is probably the best of the cast. She does an exceptional job of driving the strong voiced Marcello (Roger Lemke) mad with envy. My only problem with Ms. Douglas is her high B flat at the end of "Quando men vo" (she sounds like she's going to die). I would rather listen to a 72 year old Carlo Bergonzi crack his way through Otello than listen to much of the singing in this production. The singers sound unpolished, they must only have been chosen for looks rather than vocal technique and abilities. Give me a tenor who sings well and I will not care what he looks like. I only wish that Jin Tea Kim, the tenor who plays Parpignol, was Rodolfo. He has a wonderful voice and hopefully we will hear more things from him in years to come. If I were anyone who loves this music I would look at either the Carreras or Pavarotti DVD's of this opera, even the Ramondi/Freni movie is better sung. As far as I see it the only redeming qualities of this DVD are the sets and costumes. If you must buy this DVD buy another one that has better singers on it please.
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