The iconic 'Che Gelida Manina' scene features Rodolfo (Heo Yueh Ren) serenading Mimi (Ang Mei Foong) with his heartfelt tenor aria when they first meet. Photo: Goh Bong Hiang and Connie Chan
The KL City Opera (KLCO) is setting the stage for a fresh and innovative adaptation of Giacomo Puccini’s La Bohème, transporting the beloved opera from its usual 19th-century Parisian setting to a nostalgic backdrop of 1960s Malaya.
This is KLCO’s third production of La Bohème, after 2012 and 2016. In conjunction with the 100th anniversary of Puccini’s death, this year’s production – playing at KL Performing Arts Centre (KLPac) in Kuala Lumpur from Oct 4-6 – is set against the vibrant backdrop of the cultural renaissance of Tan Sri P. Ramlee and the Shaw Brothers’ film offerings, promising a unique fusion of classic opera and nostalgic cinematic flair.
Stage director Amelia Tan shares how she enjoys the humour and charm found in P. Ramlee films and how this has been a joy to translate onto the stage.
“With this opera, I hope to present a more relaxed and relatable approach, closer to our culture,” says Amelia.
The biggest challenge, she adds, has been getting the actors, who are more used to performing Western operas, to embrace a more grounded style, capturing the laid-back, easygoing atmosphere of Malaya in the 1960s.
“Another major challenge was ensuring that the overall stage design, including costumes, sets and visual elements, effectively created the feeling of that era. The costumes and props help the actors immerse themselves more quickly, and hopefully, they will also allow the audience to quickly engage and enjoy the local version,” says the theatre practitioner, drama instructor and acting lecturer at New Era University College.
For the production, KLCO has collaborated with local veteran fashion designer Dominique Devorsine.
Amelia says: “When we shared our vision of presenting a Malaysian version of Bohemians, Dominique was excited to tell us that she could prepare costumes representing various ethnic groups, such as the kebaya, cheongsam, and Punjabi attire.
Let’s try the bass, baritone and tenor: (from left) James Long as Schaunard, Tan Chee Shen as Rodolfo, Joseph Ng as Benoit, Mak Chi Hoe as Colline and Wilson Loh as Marcello in 'Opera Si! La Bohemia'. Photo: Goh Bong Hiang and Connie Chan
“We also use props from that era, such as wicker baskets, kandar, sarong, layang-layang, cattail leaf fans, and wooden tables and chairs on stage. However, we aim to keep the opera props as simple as possible, so the main focus remains on the styling, including the actors’ hairstyles.”
Timeless tale
Known for its universal themes of love, passion and loss, La Bohème (pronounced “la bo-em”) is one of the most frequently performed operas worldwide. It tells the story of a group of young, struggling artists, focusing on the tragic romance between the poet Rodolfo and the seamstress Mimi.
This 150-minute Malaysian production, billed Opera Si! La Bohemia, remains true to Puccini’s score.
Leading the charge in KLCO’s ambitious endeavour is acclaimed soprano Dr Ang Mei Foong, who takes on the challenging role of Mimi, the fragile yet emotionally complex heroine.
The 1960s was a transformative time for Malaya, a newly independent nation finding its footing amidst the blend of traditional values and the winds of modernity. It is this intricate backdrop that provides fertile ground for reimagining the characters of La Bohème and their struggles.
Ang, a multi-award winner both locally and internationally, spoke of her initial apprehension upon learning of the local setting, a departure from the opera’s usual Parisian streets.
“At first, I got a shock,” Ang admits. “I was worried about how I could portray Mimi within the context of Malaya, but it also opened up new and inspiring creative possibilities for an opera that has likely been staged over a million times worldwide. I believe the willingness to think outside the box, be daringly different, slightly naughty plus a heart that is always craving for perfection is an exciting thing.”
Tan Sin Sim as Musetta praying for divine intervention. Photo: Goh Bong Hiang and Connie Chan
Portraying Mimi, Ang faces the challenge of finding the delicate balance between her character’s vulnerability and strength.
While the original Mimi is traditionally portrayed as fragile and tragic, Ang’s version of the character is shaped by the resilience of Malayan women of the 1960s, many of whom quietly navigated the pressures of societal expectations while yearning for personal aspirations.
“I hope my Mimi can be seen as a reflection of the delicate balancing act many women had to perform – maintaining grace and poise while quietly enduring the pressures of conformity. I drew inspiration from the women of that era, who often lived in a world where their strength was expressed in subtle, nuanced ways – through resilience, emotional depth and the ability to find joy and love in difficult circumstances.”
To bring authenticity to her portrayal, Ang delved into the nuances of the era by studying films by P. Ramlee, whose work offers rich insights into the gestures, body language and social dynamics of the time.
“P. Ramlee’s movies offer a window into the daily lives of women in that period, their grace and the emotional depth they embodied. By observing how women carried themselves, communicated and interacted with others in these films,
“I hope I am able to adapt my performance to reflect the authenticity of the era ... however, this is still quite challenging as the libretto we sing is very different,” says Ang, adding that the real challenge lies in reconciling Mimi’s delicate nature with the exuberant, outward emotions expressed through Puccini’s music.
She explains: “While the libretto we sing is full of outward expressions, the cultural dynamics of the time were more restrained, especially in terms of relationships. Finding that balance has been tricky, but it’s also what makes this adaptation so exciting.”
Poet filled with hope
Along with Ang, KLCO’s opera features an impressive double cast who take turns in the main roles, showcasing some fine talents including Tan Chee Shen, Evelyn Toh, Wilson Loh and Tan Sin Sim (Oct 4 at 8pm, and Oct 5 at 3pm) and Heo Yueh Ren, Seow Chee Chuan and Jane Soong (Oct 5 at 8pm and Oct 6 at 3pm).
Multi-award winner and tenor Chee Shen takes on the role of Rodolfo, the impassioned poet opposite Toh’s Mimi. Chee Shen’s interpretation of the character is deeply influenced by the optimistic atmosphere of 1960s Malaya, a time marked by newfound hope and camaraderie among different races in a freshly independent nation. For Chee Shen, this Malayan Rodolfo is not weighed down by the jadedness typically associated with European bohemian artists.
Mimi’s (Evelyn Toh) tender passing in Rodolfo’s (Tan Chee Shen) arms is one of opera’s most heartbreaking yet beautifully bittersweet finales. Photo: Goh Bong Hiang and Connie Chan
“My portrayal of the Rodolfo is one that is filled with hope,” he says. “He chooses to be a struggling poet not because of despair, but because he truly believes in a brighter future, and that there are things to look forward to, which makes the dynamic of his relationship with Mimi a bit more grounded, rather than the traditional ‘enjoy it while it lasts’ interpretation.”
Chee Shen, much like Rodolfo, finds resonance between his personal experiences and those of his character. As an opera singer in modern-day Malaysia, he is no stranger to balancing the idealism of his art with the realities of the world.
This, Chee Shen believes, is a shared struggle that both he and Rodolfo grapple with.
“As human beings, we experience love, grief, and joy, though our reasons may differ. This shared emotional depth helps connect Rodolfo’s story in the 1960s to modern-day Malaysia.
“I think Rodolfo and I have plenty of similarities, him as a poet in the 1960s and me, an opera singer in modern day Malaysia, in terms of how we feel and express ourselves, and the struggles that we face.”
Keeping Puccini’s magic alive
While the setting may have shifted to Malaya, the heart of the opera remains grounded in Puccini’s original score, a feat that conductor Dr Bernard Tan is keen to preserve.
“Puccini’s score expresses human emotions so well,” he explains. “Themes like love, death, sickness, and friendship are universal, making the music just as relevant in a 1960s Malayan context as it was in 19th-century Paris.”
'Musetta’s Waltz' to stir up the kopitiam? No problem for Jane Soong as Musetta and Seow Chee Chuan as Marcello. Photo: Goh Bong Hiang and Connie Chan
As conductor, Bernard – senior lecturer at the Conservatory of Music at Universiti Teknologi MARA (UiTM) – faces the challenge of being the bridge between the orchestra and the singers, ensuring that both are musically aligned to bring out the essence of the opera. One of the key elements of Puccini’s music, according to Bernard, is the recurring use of musical leitmotifs.
“Whenever Rodolfo and Mimi meet, we hear the love motif playing. And whenever Rodolfo is with his friends, we hear the friendship theme. These themes keep recurring throughout the opera and come together at the end in one of the most magical moments.”
Bernard’s approach to conducting is not only about maintaining the integrity of Puccini’s score but also about integrating the local cultural essence of the 1960s. He notes that the Malaysian cast brings their own cultural sensibilities to the performance, adding another layer of depth to the production.
“There will be no doubt be differences in how a Malaysian performer interprets the music compared to a Western cast,” Bernard observes, “but that’s what makes this production unique.”
Opera Si! La Bohemia takes place at Pentas 1, KLPac from Oct 4-6.
