The Psychodynamic La Boheme

The Psychodynamic La Boheme

INTRODUCTION

Opera combines music and drama. It depicts Life situations through the medium of vocal music. As such, the emphasis is placed squarely upon the person or persons involved in the action and what is said, what is felt and what is thought. Ultimately, we must come to grips with intent and purpose. For all of Life concerns itself with these phenomena whether from a religious, philosophical, or socio-psychological point of view. The story of the opera is insig­nificant and, indeed, most operatic plots are legitimately viewed as nonsensical. For it is really the unfolding of the human condition that opera strives to portray in musical terms. Like all creative art forms, opera deals with that which lies beyond the limits of a two-dimensional view of the world.
In painting and sculpture, the artist makes a connection between the viewer and himself in a direct manner. In drama, there is an intervening factor namely, the dramatic characters which act as intermediaries between the playwright and his audience. The con­nection between these two must be made through the mediating force i.e., the dramatic characters. And understanding comes only in this way.

Opera poses one further component. In addition to the words, there is also music. And now the listener must relate to two intermediary factors in order
to arrive at an understanding of the artist’s message. The degree to which this understanding can be accomplished depends largely on the relative talents of the artist and his ability to awaken whatever relative sensitivities may be present in the listener. This lies on a continuum from poor to great, from mediocre to genius.

It is terribly important to be mindful that this message is transmitted on an unconscious level. All of us have varying capac­ities for unconscious under-standing. But the artist has chosen to express himself or herself through the medium of creative art because of a particular affinity for the Unconscious. Artists understand it more intimately than non-artists and because of this; they are more capable of describing its power and are more comfortable in dealing with the Unconscious.

The Unconscious is a Life force which cannot be denied. It makes its appearance in spite of efforts to thwart it and to bring it under conscious control. The problem that most people have with the Unconscious is that they try to control it rather than understand it. The artist understands and accepts
this force. Writers, painters and musicians among others, have been work­ing with the Unconscious from time immemorial without benefit of formal study of psychology. And they have been largely successful. The more sensitive and
intuitive the artist, the greater is his art and the more powerful is his impact upon those he reaches.

Our interest is in the operatic medium. The composer and his librettist(s)
have woven into the fabric of their labors important aspects of the human condition which are there for the observer to appreciate, given the proper key with which to decipher the message. Every musical theme and its variation have significance and it is important to note how it is used, when and in what context. The same holds true for the libretto. Together they tell a rich multi-facetted story about human relationships. Opera is a three-dimensional medium because people are three-dimensional. It is a complex structure because people are complex. And it is rich because the human condi­tion is rich and vast.

We, all of us, look at Life through eyes that reflect our own needs. We see, hear and understand what is important to us. And oftentimes we do not observe what is there - and for many reasons. But we can be taught to be more attuned to situations - if we want to. Once we have seen what is really there, it is no longer possible for us to deny the presence of that which is before us. For example: If we are shown a picture and are told that it contains an embedded figure within it, we may or may not find it. But once the article has been pointed out, we can no longer view this picture without acknowl­edging the existence of the article. So it is in opera. We can be ignorant of many aspects of the composer's and librettist's art. And yet, we cannot deny them once we have learned to use the many clues and cues that are purposefully woven into the fabric of the work. We can only benefit from this knowledge since the effect of it is to broaden and deepen our understanding of the unconscious force that pulsates through the Life-giving circulatory system of these characters under these particular circumstances.

These views have implications for performance, production and direction in the operatic repertoire not so much on a practical level as an "in the guts" feeling. Since we know why things are set down in a specific way, we are more comfortable in what we do. It is the difference between "is right" and "feels right". With a deepening of our grasp and a broadening of our field of
psychological observation, the operatic experience comes that much closer towards the realization of the truest conception of the artist’s labors. Why not,
then, allow the human condition to be expressed in all its effulgent glory!

The subject of Puccini's "La Boheme" is, on the surface, a rather simple, straightforward account of a tragic love between a starving poet and a lovely
woman who embroiders artificial flowers for a living. She is in frail health and it is this condition that causes her tragic death. The opera is loosely based on the novel by Henri Murger called Scenes de la vie de Boheme. Puccini's opera is in four acts. Act I finds Rodolfo, the poet, and his friend Marcello, a painter, trying to ply their respective crafts. It is cold in the garret in which they live; there is little - if any - fuel. As they attempt to heat the room, Colline, a philosopher, joins his friends shortly to be followed by Schaunard, a musician. These four friends share the garret. They are all poor and are struggling to make ends meet. Schaunard has brought food and drink much to the delight of his friends. They make ready for a feast, Schaunard makes a grand proposal. It is Christmas Eve and in celebration of the holiday, they will eat out - at the Cafe Momus in Paris' Latin Quarter. But before they can drink a holiday toast, the landlord Benoit, makes an ill-timed appearance in quest of the, now three months’ overdue, rent. The foursome succeed in getting rid of him, after plying Benoit with wine and chiding him for a supposed indiscretion with a young lady. They are now ready to leave. But Rodolfo tells his friends that he must finish an article for a local paper. He will be only five minutes and urges his comrades to go on without him; he will join them shortly. But Rodolfo cannot concentrate on his task, A knock is heard. Rodolfo opens the door to welcome Mimi, his upstairs neighbor he learns, who has come for a light so she could go up to her room. The scene unfolds as Rodolfo and Mimi tell each other about themselves and fall in love, leaving the cold garret arm in arm, on their way to join Rodolfo's friends in the cafe.

Act II is set in the Latin Quarter of Paris. In this act, Mimi is introduced to Rodolfo's friends. Musetta, Marcello's former girlfriend, enters the scene on the arms of her latest suitor; an elderly gentleman. She is still in love with Marcello and artfully effects a reconciliation with him. Musetta complains of a pain in her foot, orders her elderly escort to get her a new pair and goes off with Marcello and company, leaving the gentleman to pay the bill upon his return.

It is now mid-February. As the Act (III) opens, Marcello and Musetta have been living together at a local tavern. He has been painting while she had been teaching music. Mimi appears -in search of Marcello. She finds him and reveals to Marcello that Rodolfo has left her. They have been quarreling
continuously. They love each other but are unable to get along. Mimi asks Marcello for help. He tells Mimi that Rodolfo is in the tavern asleep. He'd come there a short while back. Although Marcello urges Mimi to come in out of the - she had begun coughing - she begs off saying she doesn't want to encounter Rodolfo. He tells Marcello: “ it's all over between us”. Mimi is a flirt, he claims. But after Marcello reproaches him, Rodolfo admits he loves Mimi; he knows she is dying. He blames himself for not providing more comfortable quarters for her. Mimi has overheard. The lovers embrace but Mimi has come to say goodbye. Rodolfo persuades Mimi that they should wait until spring. In the meantime Marcello, who had reentered the tavern, and Musetta get into an argument and separate in a pique of anger.

Back to the garret for Act IV. Rodolfo and Marcello are unable to work. They pick at each other. Finally, they realize how they yearn for their loved ones and express their longings for them. Schaunard and Colline enter. The four friends sit down to a paltry dinner and then engage in good-natured horseplay. The merriment is interrupted by Musetta who rushes in to tell Rodolfo that she has brought Mimi. The latter is dying of consumption and wants to be with Rodolfo. Mimi enters. The friends make her comfortable and leave her with Rodolfo as they go out in search of aid. Rodolfo and Mimi, now reunited, express anew tender feelings for each other. Mimi drifts off into a quiet repose. The friends come back; help is on the way. But Mimi dies before it arrives.

Although Puccini's "La Boheme” has become so popular among musicians and the general public alike, how well do we know it? The story seems simple enough, if not elementary - a tragic love story. It is poignant and heart rending. At the end we cry over Mimi's death. She has touched all. And yet, the story is not so simple. Human beings are not simple and their relationships certainly are intricate and complex. We do not give enough credit to the beauty and subtlety of human interaction. We gloss over them. So we think we know "Boheme"? Here then, are some questions that bear directly upon our understanding of what is going on. Why does Puccini in the "Che gelida manina" repeat the phrase: "Cercar che giova? Al buio non si trova?" without the words, punctuating this melody with the staccato of the harp? In Act III, when Mimi sings the aria "Addio sensa rancor", how do we know that she is leaving Rodolfo with great reluctance? What is the significance of the quartet that closes Act III? And in Act IV, why does Colline sing to the coat instead of about the coat ("Vecchia zimarra")? These are not idle questions for they relate directly to our understanding of the relationships between and amongst our principals. In short, by answering these ques­tions we deepen and broaden our appreciation of the creative force in “Boheme” specifically, and in opera generally. Answers to the above questions and many more to be be posed, are found in the musical score and the libretto. Puccini, and his librettists, Giacosa and Illica, presented the beauty and frailty of the human dilemma be­fore us for a purpose. We shall see that the Puccini characters, contrary to the widely held view, are not plastic, shallow and two-dimensional. While they may not be as powerful as those of Giordano's Andrea Chenier or Verdi's Otello, they do have a thriving existence of their own. It is, therefore, my purpose in these pages to fathom the depths of these Bohemians’ inter and infra-psychological as well as their inter/intrapersonal makeup and, in this way, to "flesh out" a more integrated and cohesive "Boheme" by using the musical score and libretto as my authoritative source and basis.

Who are these people? What are they like? What do we know about them? Rodolfo is a dreamer. He is impulsive, impatient, not task-oriented and generally troubled. He is sincere (in spite of Marcello's statement in Act III - but more of that later), and he cares deeply - especially about Mimi. Observe that as the opera opens, Marcello is trying to paint, the bitter cold in the garret notwithstanding. And Rodolfo? He is gazing out over the Paris sky­line. It is just as cold for him. True, .we do not know whether he'd been writing and has just taken a breather. But this is not important. Puccini and his librettists have seen fit to introduce Rodolfo in this fashion for their purpose. He is not working. His first utterance: "Nei cielibigi..." is sung to a gay melody, hardly in keeping with the atmosphere in the garret. He is denying (in a psychological sense) and not dealing with the situation head on. Marcello brings him back to reality - not so much in what he says as in his attitude. When Marcello suggests using the chair for firewood (quite realistic) Rodolfo's brainstorm is to burn his manuscript. A writer/poet, star­ving because he cannot earn enough money from his writings, is willing to burn his work?! He knows paper will be consumed more rapidly than wood. This action suggests something about Rodolfo's feelings of self worth. He does not offer his life's work as a last resort as does Marcello, but rather as a first offering. A further indication of Rodolfo's lack of ability to concentrate on his work is given a little later on in the act. As his friends prepare to celebrate Christmas Eve in the Latin Quarter, Rodolfo, suddenly, reminds himself that he has a literary deadline to meet. And when he sits down to write - "non sono in vena" (I'm not in the mood). Puccini's music just prior to this phrase is lilting, somewhat whimsical. And although it may be said that this music is suggestive of the Muse hovering above the artist's head, the conclusion i.e., not being in the mood, corroborates the con­tention that Rodolfo is not serious about his task. Certainly some­thing is standing in his way. Puccini, Giacosa and Illica provide the answer. Rodolfo needs a woman to share his life with. Enter Mimi and the scene unfolds.


Rodolfo's impulsivity, impatience and shaky self image as well as grandiosity, are in evidence throughout the opera. In the: "0 soave fanciulla" no sooner do Rodolfo and Mimi end their rhapso­dizing in the first part when Rodolfo kisses Mimi. She draws back: "No, per pieta" (No, for pity's sake). Rodolfo persists: "Sei mia" (You are mine). Mimi says: "Se venissi con voi" - that she will go (not stay) with Rodolfo to meet his friends. Rodolfo suggests they stay in the garret because it is cold outside: "...sarebbe dolce restar qui, C’e freddo fuori." etc., etc. He is not at all sure about Mimi and takes every opportunity to question her acceptance of him. He is smothering Mimi. Thus, in Act II, after he's bought Mimi the bonnet, Mimi's attention is momen­tarily diverted. Rodolfo asks: "Che guardi?" (What are you looking at?). Mimi asks Rodolfo if he is jealous to which Rodolfo replies quite obliquely: "All'uom felice sta il sospetto accanto." ( The man who is happy must be suspicious too.) When Mimi asks if he is happy, Rodolfo bursts out (the musical score) "Ah! Si tanto!" (Ah! Yes, very much!). Later still - after Musetta's entrance, and her eventually successful effort to get Marcello's attention, Rodolfo turns to Mimi and says he would never forgive behavior such as Musetta's. ("Sappi per tuo governo...”). There is nothing in Mimi's attitude or behavior to suggest to Rodolfo or the audience that Mimi would behave as Musetta does. And Mimi's response confirms this both musically and verbally. ("lo t'amo e sono tutta tua...") as if to say: "What are you talking about, Rodolfo. That's the furthest thing from my mind." Her love for Rodolfo is borne out by Puccini. Further affirmation of this jarring incongruity between Rodolfo's statement and the reality of the situation is provided by Puccini.


It would be appropriate for someone making this kind of comment, to be angry or perhaps even threatening. But listen to Puccini. The music at this point is sweet, caressing and not with­out legitimacy. For it accurately describes Rodolfo's psychodynamic mettle. He is anxious (why, we do not know) that he will lose Mimi. He wants - needs - her desperately. But he is not secure in his feelings as a person and as a man and therefore, is not able to express himself directly. He knows there is no basis in reality for his suspicion yet he is compelled by inner pressures to say some­thing. But to be open about his true feelings holds the possibility of ridicule by others - the result of which would be too painful to bear. Rodolfo resorts to a psychological distortion - disguise. He expresses his anxiety in loving tones - and almost succeeds (evidence Mimi's response above) i.e., Mimi registers surprise. When, in Act III, the matter of separating from Mimi comes up, Rodolfo bursts in with: "Marcello, finalmente.?...lo voglio separarmi da Mimi" (Marcello, finally, I want to separate from Mimi). The music signifies impulsivity. Rodolfo does not reach a conclusion after reviewing the issues, but rather, begins with the ending - his need to separate from Mimi. Something irrational is driving this man. The music of: "Gia un’altra volta credetti morto il mio cor..." (Once before I thought my heart dead, etc.) does not at all indicate the pain Rodolfo feels over the impending break-up with Mimi. Rather, it flows along smoothly. It is Marcello's short, somber replies that bring Rodolfo up short, - "per sempre" (forever). Generally, Rodolfo is unable to ex­press painful, negative feelings in an open fashion. The incongruity noted above is one example. It is followed by a second in the: "Mimi e una civetta..." (Mimi is a flirt). He is, ostensibly, pained by the way the relationship has gone. But Puccini has Rodolfo describe Mimi's supposed flirtatiousness in anything but detrimental manner. The melody is sweeping and charming. His feelings are constricted and bottled up. Only after Marcello tells Rodolfo that the latter is insincere, i.e., when Marcello's
sensitivity accurately touches Rodolfo's heart, does the truth come out - not only verbally but musically as well. After: "Ebbene, no, non lo son" - Rodolfo's brief admission to Marcello that he is indeed correct in accusing him of insincerity - the music of: "Mimi è una civetta" repeats itself with an interesting variation. In the first instance the music goes from E to F - a semitone - and then continues. After: "Ebbene no etc.", the music opens up to an interval of a perfect fourth, i.e., from E to A, followed by the rest of the phrase. What has happened? Rodolfo was well aware of his insincerity for he, indeed, loves Mimi with all his heart. But he was not sure of himself or that he would be understood by others and that they would accept-the depth of his feelings. Rodolfo needed someone to recognize his feelings and verbalize them. so as to give his feelings legitimacy in the real world i.e., outside his fantasy world. (It is no accident that that someone is Marcello, for he and Rodolfo have a special relationship which I will go into later). Rodolfo was, in a sense, testing Marcello's sensitivity to him. Marcello was equal to the challenge.


Verification of this point is given by Puccini himself. Notice how Rodolfo’s passion for Mimi soars after the "accusation"; how expansive and expressive the phrasing becomes when he speaks of his love for Mimi. Now when Rodolfo agonizes over Mimi's physical debility and his supposed fault for not providing better accommodations for her, Rodolfo's true feelings emerge. They are believable and heart rending.

About Rodolfo's grandiosity there are many indications. His willingness to burn a five act play manuscript is, of course, eyebrow raising, as is his contention that he will be only five minutes finishing his article for the "Beaver". The general theme of the middle portion of the: "Che gelida manina" and his boasting to Mimi about his million­aire uncle ("Ho un zio millionare..." Act II), attest further. Even in the face of bleak reality, Rodolfo is the eternal optimist. The ending of Act III is a perfect showpiece for this personality trait. Where Mimi sings of suspicions, quarrels and jealousies, Rodolfo sings of kisses and caresses.

In spite of the above, Rodolfo is an eminently likeable man with several winning characteristics. He is jovial, optimistic and quite charming. His manner during the Act I scene with Mimi is easy and engaging. And he is also concerned about others. The tenderness towards Mimi is quite genuine and lavishly manifested throughout the entire opera - especially in Acts III and IV. Rodolfo is also attentive - sometimes perhaps too much as I've noted above. Yet it would be unfair to disregard the positive in that attentive nature. He is expansive in a nice way. Note the music in Act II when Rodolfo introduces Mimi to his friends. "Questa e Mimi, gaia fioraia." It is full of warmth and charm. She completes the company (how we don't know since she is, seemingly, out of place amongst four men - more grandiosity?) "perche son io il poeta, essa la poesia" (because I'm the poet and she is the poetry). The music is lush, soft; the tenor caresses this phrase.

Our traditional concept of Mimi is that of a shy, timid, inno­cent woman who falls in love and dies tragically in the arms of her lover Rodolfo due to the ravages of tuberculosis. She is frail and weak; she lives alone. We are sympathetic towards her. Mimi is, in­deed, a likeable person and no one who knows the opera can hold back tears when she dies at the end. And yet, there is more to Mimi than this two-dimensional portrayal. Mimi is not so timid or shy or inno­cent as we are popularly led to believe. She is rather forward in a manner of speaking. For while she has presumably come to relight her extinguished candle: "Di grazia, me s'e spento il lume." (I'm sorry, but my candle is extinguished). Mimi later asks to light the candle herself; after she feels better: "Ora permetta che accenda il lume..." (Now, permit me to light the candle). This may appear to be a small point but it is an indication about Mimi's personality i.e., her struggle for independence. Every piece of behavior or comment has signifi­cance, and although Mimi thanks Rodolfo and bids him good evening: "Grazie, buona sera", there is little in the score to indicate the finality of the meeting, as one would expect from the original reason for the entrance. Mimi is rather charming; her music is inviting.
Rodolfo has tuned in to this and his responding "Buona sera" is full of gallantry and expansive acceptance of her real wish to stay. Puccini and his librettists are quick to corroborate this contention. Upon her brief exit, Mimi quickly re-enters with: "Oh! sventata, sventata! La chiave della stanza! Dove l'ho lasciata?" (Oh! how silly! The key to the room; where did I leave it?"). Psychologi­cally, there is no such thing as forgetting. Mimi wanted to forget her key - so she would have an excuse to be with Rodolfo a while longer. How do we know? Enter Puccini. The music is gay and lively leading us to believe that something happy is about to happen. Further, Puccini repeats this music a few bars down to the words: "Importuna e la vicina"(I'm a bothersome neighbor).
One does not talk of one's self as bothersome to music such as this. (The differ­ence between the statement here and later, at the end of "Mi chiamano Mimi", will be dealt with in another context). She thinks of herself as neither silly nor as a troublesome neighbor. What is Puccini in his music and Giacosa and Illica through their text telling us about Mimi? That it is she who is seducing Rodolfo rather than the other way around. Surprised? Why? Rodolfo responds to Mimi's request to light her own candle with: "Tanta fretta" (Must you go?) Mimi responds with "Si" followed by the not so convincing "Buona sera". Rodolfo's gallant reply obediently follows Mimi's lead - musically. The texture of the exchanged amenities is the same; Rodolfo's spirit follows Mimi's leads. Rodolfo's actions are governed by Mimi's coquettish hints. She permits him to be bold. He follows; he does not initiate. Rodolfo would not have put the key in his pocket etc., etc., had he not had indications from Mimi that is was O.K. The proof? Rodolfo extin­guishes his light after the return of the gay, silly, forgetful Mimi. He placed the key in his pocket after Mimi has said (musically) that she is not a bothersome neighbor. And when Rodolfo finally touches Mimi's hand, she is not so surprised. The "Ah!" seems more to indicate "finalmente" than anything else. (Pay attention next time you hear these passages sung). Again, in the: "O soave fanciulla" etc., (Oh, lovely maiden ) Mimi is coy, coquet­tish. Note for example: "Se venissi con voi" (If I came with you?) and her "Curioso" response to Rodolfo*s inquisitive: "E al ritorno?" (And when we return?). The question arises: If Mimi is not so inno­cent; if she is indeed coquettish and seductive as I believe Puccini and his librettists clearly point
out, how do we understand her response in this duet to Rodolfo's kiss? Mimi withdraws with: "No, per pieta!" (No, for pity's sake!). Our answer is in the passages immediately preceding this namely, Mimi's emotional reaction to Rodolfo's rhapsodic: "fremon gia nell'anima" (Within me, now ecsta­sies are stirring, etc.). It is at this point that Mimi joins Rodolfo: "Ah, tu sol comandi amor" (Ah, you alone command me love, etc. ). She is ecstatic. Then why recoil? I contend that Mimi is frightened at the prospect of being loved, of being accepted, finally.

If this sounds paradoxical consider the following. In her narrative: "Mi chiamano Mimi" (My name is Mimi), she tells Rodolfo that she is a loser! Note: Puccini repeats a theme stated in part I, in the second verse too. From: "Mi piaccion quelle cose..." through "quelle cose che han nome poesia" (I like those things that possess for me etc.. dreams, illusions, etc.), is the first statement of the theme. In Act II: "'Germoglia in un vaso una rosa..." (I inhale its fragrance leaf by leaf) through "Ma i fior ch'io faccio, ahime, non hanno odore." (But the flowers I make, alas, have no odor.) is the repetition of that same musical theme.

Now let us examine the substance of these statements. In: "Mi piaccion..." Mimi is saying that she likes those things that speak of love, of spring. This statement is full of hope, rebirth, and progress. Listen to Puccini. From: "che han si doice malia" (that have sweet charm) the music rises from a B to an A and hovers around that area (G#-E). It signifies hope; ascendancy. But from: "che parlano di sogni..." ( that speak of dreams, etc.), the music descends. Puccini and his librettists are saying, in effect that, although Mimi starts off full of hope, she winds up having dreams and illusions i.e., negative and most importantly, non-productive manifestations. Simi­larly, in the second part: "Germoglia in un vaso..." she talks of the flower's perfume, a positive aspect. But she lapses into pathetic inertia: "Ma i fiori ch'io faccio (but the flower I make, etc., etc.) have no odor. They, like me, are dead. The musical line is identical to that which I detailed above. It is no accident that Puccini chose to repeat this theme at precisely these points in the narrative. Why does Mimi (through the words of Giacosa and Illica) choose to describe herself in these terms? Because she feels that she is a loser; for otherwise, she would have talked of other matters. Now we understand the difference between Mimi’s reference to herself as a bothersome neighbor (importuna e la vicina) here and of the earlier, not so con­vincing statement. Her light-hearted comment above was made before the negative narrative so that she could resort to playfulness. Now, after the revelation of her true self, she must hurry along - make excuses. Observe the many sixteenth notes in the score as Mimi concludes her autobiographical statement. Even so, she still has grace and charm, as noted in the last few bars ending with the word "importunare".
Mimi is frightened of closeness especially after the “ Mi chiamano Mimi" because now she has taken her concept of herself out­side the circle of her own mind. That is, up until now she could always deny the validity of her assessment because only she knew her feelings. Having shared her fantasies with Rodolfo i.e., outside in the real world, where someone else could possibly think otherwise, she no longer feels quite so safe. Therefore, "No, per pieta."

In point of fact, Mimi needs someone to be with her; she is not happy living alone. Puccini provides the evidence. First, in the "Mi chiamano Mimi". In the second stanza Mimi sings: "Sola, mi fo il pranzzo da me stessa..." (Alone, I prepare my suppers...). She lives alone she states later on: "Vivo sola, soletta." Mimi pre­pares her meals alone - at night. It is at this time that people usu­ally want to have some company. Mimi mentions her loneliness three times. Why? in order to negate its effect upon her. The music is gay, lilting if you will - not at all indicative of the loneliness Mimi experiences within. The incongruity between the text and the score tells us there is something amiss.

Later, in Act III, Puccini and company corroborate this further in several contexts. In that act we find that Mimi does not want to leave Rodolfo although she must, and that she does not want to be alone. The act of omission provides the clue. In: "Addio, sensa rancor" (Good-bye without regrets) Mimi sings: "Le poche robe aduna che lascia sparse" (Gather the few things I have left). The same melody is repeated later in the aria: "Addio…addio sensa rancor". Between the first "addio" and the second, Puccini inserts the music of "Le poche robe, etc." Note that the words are omitted. Why? Because Mimi does not want Rodolfo to gather her belong­ings. That is, Mimi wants to stay. Since she lived alone prior to living with Rodolfo, the implication is that she will be alone again. (We have no other indication here). Hence the omission of the words is evidence that she does not - willingly - wish to remain alone.

Mimi is unable to do what she must without outside help. Earlier in Act III, after Marcello tells Mimi (for his own needs and reasons): "Quando s'e come voi non si vive in compania". (Love like yours, etc., etc.,), she responds with: "Dite ben, dite ben, Lasciarmi conviene." (You speak well; it's better to separate). But Marcello must help. They've tried to do so by themselves (she and Rodolfo) but in vain. And he does, indeed, help: by setting an example. At the end of Act III Marcello and Musetta separate – visibly; Even if Mimi and Rodolfo remain on stage in each other's arms. Act IV tells us that they too, have separated - after the example set by the other couple. No other reason is available to us.

Our sympathies are always with Mimi throughout the opera. We are drawn to her physical frailty, to her gentle manner and, of course, to the tragedy of her eventual death. She is readily taken to by the group in Act II, and the warmth that radiates from her towards her friends is clearly set forth in Act IV by Puccini. "Buon giorno Marcello, Schaunard, Colline, buon giorno." The music suggests open access between her and the others. Perhaps this because she knows she is dying and she therefore does not have to concern herself with the consequences of closeness. Contrast this with Mimi's behavior in Act III prior to the meeting with Marcello. She enters the scene looking for Marcello. When she addresses the sergeant: "Sa dirmi... Dove un pittore lavora?" (Can you tell me...where a painter is work­ing?), yet when she accosts the woman who has emerged from the tavern, Mimi mentions Marcello, by name. This is startling, for it is more likely the official, not the woman, would know Marcello by name. Mimi feels safer asking the official about an anonymous painter. Mimi is not at all comfortable with her situation - she wants no questions asked. The sergeant, in his official capacity, might ask questions; the servant woman would certainly not. Mimi wants to be -certain she reaches the right person - Marcello - before pouring out her heart. All we know at this point is that something is not just so; ( from the anonymity sequence above). Giacosa and Illica oblige as does Puccini. "0 buon Marcello, aiuto! “ (Oh, good Marcello, help me), she bursts out with pent up feelings. And so we realize that while Mimi is not so timid or innocent; she is lonely, uncertain and anxious about her relationships with people. She must maintain distance.

Of the six principals, Marcello is, by far, the best adjusted and the most realistic. His responses to situations are down to earth and his behavior is generally appropriate. He is the recognized leader of the group. It is he who takes the responsibility of paying the rent (Act I scene with Benoit) or, rather hoodwinking the landlord. Marcello is task-oriented. In our introduction to him, Marcello is busy trying to paint in spite of the bitter cold in the garrett. Act III finds him in the tavern presumably painting. And Giacosa and Illica, in their stage directions, say that his picture hangs above the tavern and that two other pictures of his flank the doorway. These are signs of accomplishment. (Rodolfo finishes nothing and Mimi does not embroider).

That Marcello is reality oriented is given early recognition; he offers to break up a wooden chair to use as firewood for the stove. And people go to Marcello for sympathy and for advice. Mimi seeks him out after Rodolfo has left her. And Rodolfo confides in Marcello about his troubles (both in Act III). That is, in matters of impor­tance, Marcello is consulted. Marcello is sensitive and warm. Of Rodolfo's three friends, Marcello is the only one who takes a personal interest in Mimi after her introduction to the group in Act II: "Signorina Mimi, che dono raro Ie ha fatto il suo Rodolfo?" (Miss Mimi, what rare gift did your Rodolfo give to you?). While it is true that his initial comment is: "Dio, che concetti rari!" ( Such rare concepts!) - after Rodolfo's flowery introduction of Mimi, and the melodic line of "Signorina Mimi..." is a bit stilted, it does not detract from the human nature of the comment. (The manner of the stilted language is related to Musetta and his relationship to her; it will be dealt with shortly). In point of fact, Marcello’s manner is jovial and even-tempered except when it comes to his relationship with Musetta specifically or any facet of a heterosexual relationship. Observe that Marcello, a painter, resorts to philosophical concepts: "0 bella eta d'inganni e d'utopie! (Oh beautiful age of delusions and Utopias) after Mimi’s comments about reading what the heart conceals (same scene Act II). His music is loud and bombastic compared to Rodolfo's floating: "La piu divina..." (Of all poetries...) which follows; Why does Marcello hide behind wordiness (philosophy) instead of alluding to artistic metaphors which would be a natural inclination? He must steel himself; say Puccini, Giacosa and Illica because? -Musetta is about to make her grand entrance!

In depicting Marcello in these uncharacteristic bits of behavior, the composer and the librettists give us a glimpse of what is to follow namely, that Marcello is out of his depth in his dealings with Musetta specifically and in matters of love in general. What proof has we? Musetta’s Waltz! She literally makes Marcello play to her tune. His final defense crumbles to a variation of Musetta's air: "Quando men vo" (As I wander, etc.) His: "Gioventu mia tu non set morta" (My youth is not yet dead).

Marcello's sensibilities and compassion are rattled again in Act III. Listen. Upon greeting Mimi he is surprised to see her. She is agitated. But seeing Marcello, she calms down. Marcello continues to soothe her. He and Musetta have been in the tavern as residents for the past three months. The music is leisurely. Marcello is tender, con­cerned: "E freddo, entrate." (Its cold, come in). But Mimi's outburst punctures Marcello's composure. He is unable to deal with the intense feelings expressed by Mimi. What does he do? He hides behind words: "Quando s'e come voi...ecco il fior d’nvariabile amor!" (Love like yours... is the flower of unchanging ardor). How unconvincing! Anyone who has ever been truly in love knows that it is painful at times and cannot always be fun and gaiety. But Marcello cannot face his own feel­ings. He must avoid them. Puccini, however, will not allow Marcello to do this. He has Mimi pierce Marcello's legato armor: "Dite ben, dite ben. Lasciarmi conviene." (Well said; we must separate), her cries almost drown out Marcello's inappropriate protestations Although Marcello agrees to help Mimi and Rodolfo work out their difficulties he is, initially, not very helpful. He is certainly not sympathetic to Rodolfo; he is not sensitive to Rodolfo’s needs. Notice the somewhat pedantic music of: "E gli vuoi rinnovare il funeral?" (And you would restage the funeral?) This is a question but Marcello turns it into a statement filled with irony. Rodolfo's response is immediate and emphatic: "Per sempre!" ( Forever!) Rather than get his point across namely, that Rodolfo is hurting himself by his definite decision to separate from Mimi, Marcello succeeds in provoking Rodolfo. Marcello contrasts Rodolfo's insidious kind of love: "Dei pazzi "e I’amor tetro che lacrime distilla." (Gloomy love is for the insane...) with his own concept: "Se non ride e sfavilla 1'amor e fiacio e roco." (If it does not laugh and shine, love is weak and fragile.); And this is seen in Puccini's music as well. In the interval between: "...e fiaca e roco" and: "Tu sei geloso" (You are jealous), Puccini perks up the theme of: "E gli vuoi rinnovare etc" and "Gambia metro" (Change the meter) as an added emphasis. But Marcello is not content with this example. He continues to badger Rodolfo: "Tu sei geloso...chollerico, lunatico" (You are jealous, choleric, a lunatic), and we know that his effectiveness is thereby dampened. How?! By Rodolfo's response: "Mimi e una civetta..." It is constricted. He is not telling all. Of course not! How can he after having been assaulted so mercilessly by Marcello. When the latter heaps the abuses on Rodolfo, his voice rises and becomes sharp with uncalled for scorn. Consider this. Marcello - Puccini obliging of course - shows Rodolfo how to change the meter. Why then spoil everything by the concept of overkill? I contend that here Marcello is guilty of allowing his problems to get in the way. He projects his reactions to a similar situation namely, his relationship with Musetta, onto Rodolfo. This should come as no surprise. For although Rodolfo alludes to a previous relationship he's had with a woman, the only pre-existing such relationship that we know of is that between Marcello and Musetta, the details of which we can only surmise from the Act II encounter already described above. Further credence is given this contention by Marcello's unbelievable exposition to Mimi on the subject of Love earlier in Act III. And the conclusive docu­mentation is illustrated by the tempestuous quarrel between Marcello and Musetta at the end of the act. But Marcello recoups; his sensitivities become appropriately manifested in time to save the situation; probably because he was able to get things off his chest. He accurately assesses Rodolfo's insincerity in describing Mimi as a flirt. Corroboration is swiftly provided by the emotional outpouring of love, pain, concern and fear in Rodolfo's subsequent: "Ebbene no, non lo son." (discussed above).

Yet another example of this aspect of Marcello's personality bears noticing; one that is closely related to the idea of ventila­tion of feelings. I have pointed to Marcello's inability to respond fittingly in matters of love (My comments about this in connection with the events of Act II). Exception to this was just noted and occurs again in the opening moments of Act IV. It is here that Marcello is able for the first time to talk about his feelings of love in the idiom of the artist. When he and Rodolfo sing of their yearnings; each for his respective beloved ("O Mimi tu piu non torni"), Marcello says: "lo non so come sia...e nesce di Musetta il viso, etc." (I don't know how my brush labors for her, etc.) Why? How come? Just prior to this duet Marcello had drawn blood. When he tells Rodolfo that he saw Mimi, Rodolfo responds with: "Evviva. Ne son contento." (Good, I'm happy.), Marcello's rejoinder is; "Bugiardo, si strugge d'amor" (Liar. He's wasting away of love). Puccini is uncanny in handling this seemingly insignificant detail. The music of both statements is identical. Note that in the similar situation in reverse, Rodolfo's music is markedly different than that of Marcello. And for good reason! Marcello reads Rodolfo per­fectly whereas Rodolfo is not nearly so sensitive orperceptive. Puccini has deliberately done this to point up the different psycho­logical levels these two men are at. Only after Marcello has vented his spleen either by an out burst of invectives (Act III) or by subtlely rubbing salt into an open wound: "Era in carrozza etc." (In a carriage) in Act IV, can he gain his even-keeled manner.

Musetta presents somewhat of a problem. She is traditionally portrayed as a coquette and a flirt. She is depicted as self-centered and narcissistic. She flaunts her liberal attitudes about love in the face of the hapless, love smitten Marcello. How then, do we account for the sudden change in behavior in Act IV? Surely, someone who is caught up in the pleasures of the flesh and who seemingly is only interested in herself, could not respond with such warmth and concern to the events of Act IV. Nor could such a person offer such a touching prayer on behalf of the dying Mimi. We must therefore conclude that Musetta is not the hard-bitten woman she seems to be. And there is proof of this in the Act II episode and especially in her famous waltz. Although Musetta makes a big splash upon her entrance, we know that her true intention is not merely to get Marcello's attention so as to add another triumph to her sup­posedly endless list of admirers. How? Puccini and his librettists have seen to that. In the waltz Musetta sings: "Quando m'en vo, etc." (As I wander through the streets, etc.) in which she talks of how people drink in her beauty. That is, they ogle at her, look at her as a sex object - someone to be had. This may be pleasing to her initially but she is hurt that they don't know the real and very human Musetta. When she sings: "E tu che sai, che memori e ti struggi, da me tanto rifuggi?" (And you who know, who remember and suffer, do you now avoid me?), she is singing to Marcello because she has already said to him directly: "Tu non mi guardi!" (You won't look at me!). The melody of: "Quando m'en vo" and "E tu che sai", is the same. What is the purpose of the repetition? Precisely this. To let us know that Musetta is afraid that Marcello will now see her in the same way as everyone else does. Musetta, above all else, is terribly frightened of closeness - of being loved. For although she puts Marcello in the same category with all the others - musically, her "words to Marcello are different. She asks whether he will avoid her after they have had such wonderful times together, i.e., have been close. There is pain in these words; the pain of a very human, sensitive and ultimately vulnerable person. Now we realize that her outward behavior is but a defense against the real need to be loved.


Essentially, Musetta is saying: I must behave in this way in order to keep people away from me. So they will think I act this way with everyone and therefore am not serious about love. The exact oppo­site is true. But someone has been sensitive to her plea - Mimi! -who sings: "lo vedo ben,..che quella poveretta tutta invaghita ell'e," (I see well i.e., clearly, that this poor thing is smitten with him (Marcello). And later: "Quell’ infelice mi muove a pieta." (That unhappy creature moves me to pity). This comes as no surprise. Mimi is intuitive to Musetta’s true needs and apprehensions because Mimi too, is afraid of closeness (my discussion of Mimi above). Only those who have opened themselves up to their innermost feelings and have experienced them can understand others who have similar feelings, Marcello, too, responds to Musetta’s underlying needs. Puccini is brilliant in his perception of the human conditions. When Marcello finally confesses his true feelings: "Gioventu mia..." (My youth, etc.), he does so to the beginning melody of Musetta's waltz. The music is the same; the words different. Marcello is "true blue" for he has an option - to respond to Musetta as all other men do (the first appearance of the theme) or to remember the wonderful feelings of closeness (the second rendition of the melody). Marcello clearly recalls the beauty of intimacy: "se tu batessi alia mia porta, t'andrebbe il mio core ad aprir", (If you should knock on my door my heart would go to open it). Puccini^ choice of melody is not hap­hazard. There is a difference between Mim's response to Musetta and that of Marcello. Mimi’s is a quiet although perceptive observation; one which, musically, is almost lost within the ensemble that attends the Waltz. Marcello comes thundering with his: "Gioventu mia." The orchestra gathers strength and power in preparation for Marcello’s outburst. It must be so because Marcello must struggle to separate the anger and the hurt from the deeper feelings of his love and affection for Musetta. We also understand from this that the bicker­ing and the arguments notwithstanding, Marcello and Musetta have a viable and meaningful relationship. It is because of this that they get back together in Act IV.

As seen by the events in Act II, Musetta wants desperately to be with Marcello and she will do almost anything to be with him. . She did not want to separate from him at the end of Act III but Marcello precipitated the argument that brought this about. This is important for our understanding of Musetta. In Act II we are led to believe that Musetta had jilted Marcello: "...II suo nome Musetta; cognome Tentazione etc.,!" (Her name is Musetta; surnamed Temptation). This is an allegation that is not substantiated sufficiently by the text or by the score. In Act III we have clear evidence of the opposite via Marcello's provocation: "Che facevi, che dicevi etc." (What were you doing, what were you saying?). Musetta's infidelity is substan- tiated only circumstantially - by Marcello having heard her laughter when she was in the tavern and he was outside. In short, Musetta is forced to leave Marcello; she does not want to. And just as she had contrived to be with Marcello in Act II, so does Musetta manage to return to him in Act IV, in the following fashion. When she bursts in on the four friends in Act IV, Musetta says: "Intesi dire che Mimi, fuggita dal Viscontino, etc., etc." (A few nights ago I heard that Mimi, having deserted the Viscount, etc., etc.). Now this is a bit much. Surely, if Musetta's only concern was to bring the dying Mimi to Rodolfo, she had merely to say that she found Mimi and the latter asked Musetta to take her to Rodolfo. But no! Musetta tells the friends that she heard, etc., etc. From whom did she hear? We do not know; and she does not tell us. Why? because it is not important either to her or to the matter at hand. This giving of too much information indicates that she has an ulterior motive. Having brought Mimi, Musetta has returned to Marcello in the process. If this seems far fetched, look at the libretto. From the time that Musetta tells of Mimi's request to be with Rodolfo until Colline's: "Vecchia Zimarra" ( Cloak Aria ) the dialogues take place amongst Rodolfo, Marcello, Mimi and Musetta (not in that order of course, but within the four­some nonetheless). Only one comment is made outside this quartet - by Schaunard - and it is said to Colline in an ASIDE. In other words, Giacosa and Illica have brought the couples together. Mimi and Rodolfo at Mim's request and Marcello and Musetta, inadvertantly. Note too, that from Musetta's sudden entrance and her" account" of Mimi's search for Rodolfo, Musetta's comments are given response by Rodolfo. After the "account" it is Musetta - Marcello and Mimi -Rodolfo. That is, Musetta has brought Mimi to Rodolfo but she found her Marcello in the process. And he rewards her by saying' "Si buona, o mia Musetta." (You are good my Musetta). Not just Musetta, but my Musetta. And they leave - together! Having finally found each other, Musetta and Marcollo work as a couple (the end of Act IV). And it is at this point that Musetta offers up her touching prayer. She, who has found happiness and the warm feeling of closeness, can now open her heart and beg antecedence by the Blessed Madonna.

Colline and Schaunard, the other principals, take a back seat to the aforementioned foursome. Of the two, Colline is the more clearly delineated. He is the philosopher; the man of ideas. Colline is more comfortable in the world of concepts and thoughts than he is with feelings. He is isolated from feelings except, perhaps, in the abstract. Observe that when Mimi is introduced to the friends, Colline recognizes her presence (indirectly by commenting on Rodolfo's flowery introduction) with a Latin phrase. What does this mean? Latin is now, and was in the time of these Bohemians too, a dead lan­guage. One does not greet someone for the first time in this fashion except under certain conditions; In order to impress the other per­son. True, the remark was addressed to Rodolfo but even so, the behavior was inappropriate. In this instance why should Colline have to impress Mimi? No! His response is intended to isolate himself from his feelings. Obviously Mimi has made some impression upon him and Colline must avoid his feelings. Colline's need to add an "accessit" to his statement: "Digna est intrari" is validation of his need to isolate himself (and others - Mimi?) from feelings. Note too, that the statement is not translated in the libretto. Why? to under­score the idea that the meaning is known to no one but Colline and perhaps Schaunard (who also greets Mimi in Latin). In other words: the intent behind the comment is private - exclusive. That Schaunard does not add further Latin comments indicates that he is less distant than Colline.

Colline is anxious about interpersonal relationships - espe­cially with women. In the ensemble that follows Musetta’s Waltz, Colline says: "Chissa mia quel che averra etc., etc." (Who knows what may yet happen etc., etc.) in which he says that, although he is not blind to Musetta's beauty and charm, he much prefers a pipe and a Greek tome. In this, Colline clearly continues to impress us as an emotionally isolated person. This is especially pointed out in view of Mimi’s sensitivity to what is really going on between Musetta and Marcello. In Act IV, when the four friends fantasy being aristocrats dining on delicacies, it is Colline who announces: "II Re mi chiama al minister" (The king summons me to the ministry). That is, in spite of the comic aspect of the statement, Colline expresses the need to leave the company. Since all behavior is predetermined and has purpose, we must conclude that Giacosa and Illica put these words in Colline’s mouth to tell us this about him. What is here suggested is entirely consistent with the evidences of Colline’s emotional iso­lation mentioned above.


Colline is forever trying to hide his feelings but he is un­successful. And Puccini, Giacosa and Illica, recognizing this, depict Colline's state of mind. The famous "Vecchia zimarra" reveals Colline's deep-seated feelings. First, observe that Colline sings to the coat and not about the coat. He is addressing an inanimate object as though it were a living object. Why? Because Colline cannot bear to deal, realistically, with the impending death of Mimi. He must deny that reality and does so by speaking to the coat as if it were a person and alive. Colline is not talking about the faithful coat - an old friend. We have evidence of this from the text which is also supported by logical deduction. In Act II we are told (by the stage direction), that Colline buys an old cloak and has it repaired in a rag shop. Colline then joins his friends wrapped up in his oversize cloak (stage directions). Now, how attached can anyone become to such a garment in such a short period of time? Especially if the cloak is not a good fit? So we know that something else is taking place. In his aria Colline talks about ascending the sacred mount: "tu ascendere il sacro monte." Also" "io resto al plan." (I remain..,), meaning that you are going to heaven while I remain - alive on earth. And further: "Ora che i giorni liete fuggir, ti dico addio fedele amico" (Now that the pleasant days have gone, farewell faithful friend). Colline is talk­ing about Mimi, not the cloak. The evidence is plain. From: "Vecchia zimarra" through: “Le mie grazie ricevi", Puccini has written a dirge-like background. This musical undercurrent is repeated from: "Ora che i giorni" through the final "addio". The few bars immediately follow­ing and just before Colline says to Schaunard: "ognuno per diversa" (each in his way etc.) appear again after Mimi's death and Rodolfo” outburst; "Mimi! Mimi!... This connects the sentiments expressed by Colline in his aria to the death of Mimi i.e., the end. Colline suggests to Schaunard that they leave Mimi and Rodolfo alone. True, he sizes up the situation accurately and we may point to Colline’s sensitivity to the situation. But we are not so interested in the reality of the behavior as the psychological implications of it. This scene is filled with deep emotional impact and it is fitting that Colline who, of all the characters must run from his feelings most, should be the one to urge Schaunard to leave Rodolfo and Mimi alone.

Schaunard, the last of the major principals plays a small but significant role in the drama. He is associated with joviality and with food. When things seem to be at their worst, in comes Schaunard to save the day. In Act I, just as the fire in the stove dies down and Colline and Marcello sing: "Abbasso, abbasso l’autor!" (Down with the author); in bursts Schaunard with food and drink. Again, in Act IV, Rodolfo and Marcello are down in the dumps after expressing their longings for Mimi and Musetta respectively in: "0 Mimi tu piu non torni” ( Oh Mimi will not return ); the outlook is bleak. Rodolfo and Marcello are hungry and angry: Rodolfo: "What time is it?" Marcello: "Time for yester­day's repast." Rodolfo: "And Schaunard has not returned!" In comes Schaunard, introduced by the bubbling melody of his Act I entrance, Indeed, for the group, Schaunard serves a singular purpose - to get food and make life a little bit merrier. They do not listen to him except when he speaks of food. In Act I he tries to tell his friends about his adventures. They are oblivious to him until he stops themfrom eating with: "No! Questo cibarie sono la salmeria pel di futuri... ("No, This our insurance against future days,..) and: "Pranzare in casa..." (What! Dine at home?). This is his most extensive solo in the entire opera.

Schaunard may be viewed as somewhat of a mascot amongst his friends. He is important to the group for reasons already mentioned -but not for these alone. Schaunard is not a simple man nor is he to be taken lightly, even though he is the one that begins the horseplay in Act IV. Puccini for his part,ives us an inkling into Schaunard's personality. In the: "Pranzare in casa" (Act I), as Schaunard sings:"Quando un olezze di frittele imbalsama Ie vecchie strade?" (How the smell of fritters fills the air) the music is elegant, noble and engaging. It rises shortly to a crescendo, culminating in: "Un po di religion, o miei signori'." (A little religion, gentlemen). While Schaunard is elegant and has good taste, he can be bombastic: "La Ie ragazze" (there the young girls etc.) and he has wit and charm. Again in Act IV, Schaunard requests permission to address the assembly: "Mi sia permesso - al nobile consesso". There is comedy in the music which is followed by elegance: "La danza con musica vocale!" (Let's dance with vocal music!) which in turn gives way to good-natured horseplay: "Che modi di lacche!" (the manners of a lackey!). Giacosa and Illica too, inform us that Schaunard is not just a mascot type. He has some worthwhile contribution to make. Observe his comments during the ensemble that follows Musetta's Waltz: "Ah, Marcello cedera etc." (Ah, the haughty Marcello will capitulate etc.) in which he accurately notes the bond between Marcello and Musetta. But his astuteness is expressed on the sidelines so to speak; In an ensemble. In a group he is elegant, boisterous, witty - the life of the party. Not so in a one to one situation. Recall Rodolfo’s introduction of Mimi to his friends. Schaunard, like Colline, responds to the situation in Latin which as I have already stated indicates a need to maintain distance.

Now that we have met the principals individually, it is time to look at the relationships they have with and amongst themselves. Much may already have been gleaned from what has already been written so I shall address myself to specific issues. How is it for example, that Mimi and Rodolfo were drawn to each other? How do we know that the attraction makes sense? A close reading of the libretto will answer this question. When we are introduced to Rodolfo: "Net cieli bigi..." (In the gray skies etc.), he sees gray skies and rooftops. In: "Mi chiamano Mimi", she looks out upon roofs and at the- sky. "Guardo sui tetti e in cielo". Two, or more, people who look at a scene and see the same thing may be said to see eye to eye. That is to say, they have something in common. Giacosa and Illica have done. this deliberately for they could just as easily have had Rodolfo and Mimi say different things. There is tenderness and a great deal of sensitivity in this re­lationship. We go back to Act I. In spite of the not so innocent in­dications of Mimi's personality Mimi is not sure of herself; she really is somewhat timid. Recall, for example, the apologetic tone in her voice as she makes her entrance. Rodolfo is attuned to this and is successful in getting beyond the not so convincing: "Importuna la vicina". He does this in the: "Che gelida manina" (How cold your tiny hand is). For we know from the outset that the garret is cold so it comes as no surprise that Mimi's hand is cold. Therefore, Rodolfo is not referring to physical coldness but rather, to the implication that this manifestation has. Mimi is anxious about a relationship with a man. Rodolfo offers to help her get over this feeling: "se la lasci riscaldar" (let me warm it). He also tells Mimi that he under­stands the real motive for her being in the garret and for their being together. "Cercar che giova? Al buio non si trova" (What good is it to search, we won't find it in the dark). Puccini helps us to under­stand this idea by repeating the phrase without the words, and punctu­ating the melody by a staccato-like use of the harp. Puccini has Rodolfo give Mimi time to digest the idea that they are together for another purpose and, in giving her the time that he understands her reticence (the apologetic tone of her entrance). Rodolfo has also keyed in on Mimi's fear of exposing herself for he again helps Mimi to overcome her self doubts by talking about himself. People encourage intimacy and closeness by revealing themselves so that others may thus, overcome their own uneasiness about relationships and take a chance on reaching out to others. In the process of helping Mimi in this very sensitive way, Rodolfo undergoes a transformation of sorts. Observe the emphatic music of Rodqlfo's declaration of who he is, and contrast this with the musical treatment beginning with the introduction to: "In poverta mia lieta..." (In poverty etc., etc.) The music is a repetition of the "Net cieli bigi" theme which served as our introduction to Rodolfo. Here the music is soft, gentle, while in the first playing it is lively, more energetic and rhythmic. Why? It is because of Mimi. For Rodolfo has homed in on the gentle, shy and engaging part of her personality. He is taken by it. And this permits Rodolfo to make a confession to Mimi - that he is an idle deceiver, or has been until this very moment. How can we be so sure of such a startling revelation? Puccini, Giacosa and Illica give us license. Puccini ties this portion of the aria with the: "Nei cieli bigi etc," musically. And the librettists support it by putting in Rodolfo's mouth the idea of "gran signore" in both places. Now, if in "Nei cieli bigi etc.", Rodolfo says: "E penso a quel poltrone d'un vecchio caminetto ingannatore che vive in ozio come un grand signer! “ (and I think of that old, idle deceiver of a fireplace behaving like a grand seigneur!) and in the aria makes reference to his being a "gran signer" can we not extrapolate the above deduction - especially if the musical theme is the same? There is no room for doubt.

But something has changed in Rodolfo. For in the next phrase he says: "Talor dal mio forziere...due ladri, gli occhi belli." (while from my fortress...two thieves, - a pair of beautiful eyes). From this point on, he clearly speaks of his feelings towards Mimi, And we know this is so and that she responds because Puccini points it out in the: "0 soave fanciulla". When Mimi joins Rodolfo she does so to the melody of "Talor dal mio forziere" and her words are: "Ah! tu sol comandi amor" (Ah! You alone command me. Love) and to the strains of Rodolfo's: "Or che mi conoscete etc." (now that you know me - in the "Che gelida manina") Mimi sings the words: "Oh, come dolci scendono Ie sue lusinghe al core..." (Oh! How sweetly fall his words upon my heart,..) and to Rodolfo's "Vi piaccia dir?" (Perhaps, you'll tell me? - aria) Mimi responds: "tu sol comandi amor". The music is lush, tender, caressing and loving. We are told that it is because of Rodolfo's intuitive understanding and sensi­tivity that Mimi can drop her guard, come in touch with her feelings and express them.

Corroboration of Rodolfo's sensitivity to Mimi and her grateful­ness for that quality in him, comes from Mimi herself in Act IV, in the scene beginning with: "Sono andati?" ( Have they gone? )When Mimi asks Rodolfo: "Son bella ancora?" (Am I still beautiful?) Rodolfo answers: "Bella come un'aurora" (Beautiful as a dawn). Mimi chides him: "Hai sbagliato...come un tramonto." (You employed the wrong term...you meant like a sunset.) Now, Rodolfo was not just being kind to Mimi, There is a profound pur­pose in all this. It is in this tender exchange that Rodolfo and Mimi admit to each other what really went on in their Act I meeting. It is an absolution in preparation for the inevitable separation that is to take place shortly. Puccini is a keen observer of and -commentator on Life. Rodolfo (above) tells Mimi an obvious lie. And she does the same. "Ah!...Te lo rammenti quando sono entrata la prima volta, la?" (Remember when I came here the first time? ) The music here is that of: "Oh! sventata, sventata" and "Importuna e la vicina" in Act I. But! This was not Mimi's first entrance but her second. This is important. In her first entrance, Mimi was timid, shy, apologetic. In her second, she was the incongruous "bothersome neighbor" (see above). Why does Puccini make this "mistake"? To draw attention! He has Mimi say to Rodolfo, in effect, 'Look, I want you to know that I was not entirely candid then’.

But now it is Rodolfo's turn. He tells Mimi that he knew it all along. Of course he did! Puccini gives the clue. Rodolfo sings: "Poi smarristi la chiave..." (Then the keywasa lost ) to the melody of Mimi's: "Oh Dio! Torni ad accenderlo" (Heavens' Would you light it again.) in Act I. This is a marvelous stroke. Here Rodolfo tells Mimi, 'When you asked me to relight it — the candle, - the key i.e., the real purpose of our meeting was lost! We know, of course, that this isn't so because Rodolfo, in psychologically appropriate fashion, extinguished his candle, and thus insured the continuation of the unconscious bond between him and Mimi. Giacosa and Illica make a significant con­tribution. Note that "la chiave" (the key), not "Tua chiave" (your key) was lost. Also (in Act I) Mimi asks Rodolfo to relight it; a non spe­cific object. The neutrality of the key and of it tells us that both Rodolfo and Mimi knew the real reason for their meeting - on an uncon­scious level. Further on, Mimi confesses to Rodolfo: "Mio bel signorino, posso ben dirlo adesso, lei la trovo assai presto" (My beautiful [ in a feeling way ] young man [affectionately diminutive] I can say it now, you found it very quickly). The melody that introduces this comment is the same one that accompanies the stage direction (finding the key) in Act I after Rodolfo sings: "Cerco" (I'm looking). In this way, Puccini reveals to us as Mimi does to Rodolfo, that she was well aware of the psychological ongoings, all along.

And finally Mimi tells us why her hands were cold. "Era buio, e il mio il rossor non si vedea" (It was dark, my blushes couldn’t be seen). That is, Mimi blushed in spite of her efforts (which she un­consciously undercut) to hide her true feelings and she froze ("Che gelida manina"). This interpretation is made by Puccini himself. The melody of "Che gelida manina" and "Era buio...il rossor...non si Vedea", is the same. And Mimi expresses her gratitude to Rodolfo's sensitivity in the same way, too. "Era buio, e la man tu mi prendevi..." (It was dark and you took my hand). She is saying really, I was em­barrassed and you took my hand. You were sensitive enough not to expose my embarrassment i.e., "Era buio", you helped me to deal with my feelings in relative safety! Mimi with the unfailing support of her Rodolfo, has, in this way, prepared herself for death.

Yet, it is an unequal relationship with Mimi giving more to Ro­dolfo than he to Mimi. Not that Rodolfo loves Mimi less but that she is able to express her feelings more openly and directly. This observation illustrated in abundance throughout the opera. . In Act I, Rodolfo says to Mimi: "Che m’ami di." (Tell me you love me) and Mimi responds with: "1o t’amo" (I love you). Again, in Act II Mimi's response to Rodolfo's: "Sappi per tuo governo! “ (Just keep in mind...) is: "lo t’amo tanto, e sono tutta tua" (I love you so much, I'm all yours). And in Act IV, Mimi again tells Rodolfo she loves him in the: "Sono andate? etc." (Are they gone?) in which she expands on this theme. And Rodolfo? He never tells Mimi "I love you". He intimates it to her. Rodolfo does tell Marcello in the: "Ebbene, no, non lo son" - "Amo Mimi - sovra ogni cosa al mondo" (I love Mimi more than all the things in the world) but then, of course, he thinks no one else - especially Mimi is listening. Rodolfo is unable to tell this to Mimi and he suffers greatly for it. Indeed, Rodolfo lives to regret his inability to tell Mimi that he loves her. Puccini has seen to that. After Marcello embraces Rodolfo, saying; "Coraggio" (courage), following Mimi's death, the orchestra peals out with the melody of "Sono andate?" In that melody, Mimi described to Rodolfo just how much she loved him: "...o una sola, ma grande come il mare", (or a single thing, as vast as the sea). She then says: "...Sei il mio amore e tutta la mia vita." (You are my love and my entire life). Now, after her death, when Rodolfo can no longer tell Mimi: "I love you", Puccini reiterates that theme. But there is a difference. The melody stops at the point: "ma grande come il mare". The phrase: "Sei il mio amor" does not appear here because it no longer matters - Mimi is gone. Note also how Puccini reveals to us just how much Rodolfo needed Mimi. As the orchestra plays the "Sono andate" theme, Rodolfo cries out "Mimi!" After that point in the text where Mimi had sung: "Fingevo di dormire" (I feigned sleep) and: before: "Ho tante cose che ti voglio dire" (I have so many things to say to you). No where else! But why? First because Rodolfo has a need to deny Mimi's abandonment of him i.e., her death. And the reference to feign­ing sleep was made by Mimi herself back in Act III when she told Marcello: "Talor la notte fingo di dormire". (Often at night I pretend to sleep). Rodolfo knew this unconsciously for, after all, he’s lived with her and knew her need to get away from him. Now, after her death, it is as though Rodolfo was saying: 'Mimi, please don't do this to me!’ (By pretending to sleep). And in the second phrase the outcry indi­cates Rodolfo’s desire to say so many things: "Ho tante cose che ti voglio dire". But, of course, those things e.g. "I love you" are omitted here-, for Mimi has died.

Rodolfo and Mimi are inextricably tied to each other. As much as he needs her, so is she influenced by him even when it is against her better judgement. Puccini's treatment of this aspect of their relationship is a masterful stroke of genius. For he understood intuitively that Rodolfo and Mimi did not have the strength required to effect an appropriate, if temporary, separation. They needed an external force to accomplish this end. What did Puccini do? He hit upon the idea of a quartet - the: "Addio doice svegliare..." (Good-bye sweet awakenings.) At first glance this quartet seems superfluous, out of place. Here we have Rodolfo and Mimi singing of blissful love and - out of nowhere, the idyllic scene is interrupted by Marcello and Musetta engaging in a lover's quarrel. How incongruous and in­sensitive! Nothing of the sort could be farther from the truth! Upon a close reading of the text we see that initially, Mimi talks of: "Addio rabuffi e gelosie" (Good-bye to quarrels, jealousies) and: “Addio sospetti!" (Good-bye to suspicions). This is realistic in light of the strained relationship between her and Rodolfo to which both admit. But Rodolfo talks of: "Che un tuo sorriso acquieta!" (That a smile of yours conquers) and: "Baci" (kisses). He rhymes Mimi's: "Pungenti amarezze" (and pungent bitterness) with; "carezze" (caress). That is, Rodolfo does not want to acknowledge the truth of Mimi's observations. And he succeeds! For Mimi abandons her realis­tic assessment of the relationship and joins Rodolfo in: "Mentre a primavera c'è compagno il sol" (While at the first flowering of spring we have sun) and just as Rodolfo talks of: "...gigli e Ie rose". (lillies and roses) Mimi now says: "Esce dai nidi un cinguettio gentile." (A sweet chatter issues from the nests). This is a complete shift from her previous statements. Rodolfo has won her over. But we know that all is not sweet and wonderful. Yet how does one inter­rupt their seeming obliviousness to the gravity of their situation? Puccini introduces the antithesis by having Marcello and Musetta argue bitterly with each other. They punctuate the idyllic atmos­phere by hurling epithets at one another. And while Mimi and Rodolfo sing lovingly to each other, Marcello and Musetta effect the inevi­table split. Only in this way can we understand the insertion of the quartet here. The tender music of the one couple is balanced by the harshness of the others.

The opening of Act IV affords us a glimpse of another facet of the friendship between Rodolfo and Marcello. No one who knows Boheme can have missed the fact that the two are good friends. Act I has them working together and bantering good-naturedly with each other. In Act IV they are again, seen working together. Yes. But the atmos­phere is strained. Both acts open similarly. Yet while the Act I version of the prelude is cheerful and bouncy and the musical thought is complete, its Act IV counterpart is abrupt and truncated. In Act I there is a sense of tranquil!ty in spite of the cold. There is warmth. Marcello's remarks are sung in a leisure manner. Act IV catches him in the midst of conversation and not a pleasant one as we are soon to find out. Marcello and Rodolfo are sniping at each other. Each takes great pains to describe the details of his meeting or seeing the beloved of the other. It is obvious that something is wrong between them. No friend would cause another deliberate anguish, and yet these friends do just that. Why? Act III gives us the answer. While it is true that some time has elapsed between the separation of the two couples, psychologically their separation and the opening of Act IV are connected. Puccini, Giacosa and Illica could have chosen any number of episodes with which to open Act IV, yet they chose to show Rodolfo and Marcello rubbing each other's emotions raw. The connection is this. Marcello envies the idyllic love of Rodolfo and Mimi for he and Musetta have not been able to achieve this, Rodolfo demonstrates this in the music he sings in the quartet. Marcello represents the side of a relationship that Rodolfo cannot deal with adequately. And this is demonstrated in his music in the quartet, And although I've stressed that the quartet is introduced to describe the antithesis of the idyllic relationship of Rodolfo and Mimi, the reverse is also true. Namely, that it is the antithesis of the Marcello - Musetta relationship. And because both Marcello and Rodolfo have a need to deny something in their love relationship, each blames the other for pointing out these lacks and causing the separa­tion from his respective loved one. It is for this reason that they hurt each other in Act IV. But their friendship is too strong for these attitudes to pre­vail for too long. Again, Puccini.and his librettists bring this out beautifully. After each has drawn blood, Marcello and Rodolfo attempt to shrug off the pain through the medium of work. "Lavoriam". Puccini reintroduces the melody associated with Rodolfo's attempt to get down to business in Act I at this point. But here, too, there is a signif­icant change. Just as the Act I prelude is a complete thought, and that of Act IV is not, so it is with the "work motif" of Act I as com­pared to that in Act IV. In the midst of the Act IV version, there is a broken record effect, with the same three notes repeated over and over again - just prior to: "Che penna infame!" (Horrid pen!). This is done deliberately. The motif is not only related to work but more specifically, to Rodolfo at work (Act I). Why does Puccini insert it now? Because he wishes to tell us something about Rodolfo. That he must run away from his feelings more than Marcello. For while Marcello's response to Rodolfo's encounter with Musetta is: "Ci ho giusto davver." (Well, that's truly interesting), Rodolfo's parallel comment is: "Evviva. Ne son contento" (Good! I'm happy). That is, Marcello responds with interest; he follows the events although with some understandable denial of the true feelings. Rodolfo denies com­pletely! He is happy. It is he who introduces the idea of work but is unable to follow through. He wants to get away from his feelings and from Marcello. "Che penna infame!" and "Che infame pennello!" -the use of the same (almost) words, interchanged in their order, in­dicate the bond between the two friends. In spite of the hurts they like each other and realize that they are in the same boat. The proof of the pudding is in the duet: "O Mimi tu piu non torni." where Rodolfo and Marcello blend their voices, thoughts and moods in beau­tifully textured harmony.

One more point of interest. In the horseplay that precedes Musetta*s entrance in Act IV, Rodolfo and Marcello are paired off as are Schaunard and Colline. The former dance as a heterosexual couple-not by chance. No other pairing is possible. And the man/woman choice of Rodolfo and Marcello is significant. First, because this is on their minds as per the preceding discussion and second, because in the Puccini Boheme, only they have experienced a heterosexual relation­ship. Now, Rodolfo and Marcello choose their respective sexual roles spontaneously. They could not have changes places comfortably. Marcello could assume the female role in relative comfort because he is the more well adjusted of the two and is generally more at ease with his feelings. We have now arrived at the end of our psychodynamic exploration of "Boheme". By no means has every aspect of the opera been discussed and there is, no doubt, more that could be gone into. I have not touched on the symbolic issues in the work. For example: the meaning of the scene with Benoit in Act I, or the startling opening and closing of Act III. There are reasons for the appearance of these phenomena. But my purpose was not to discuss "Boheme" from this view­point. My intent was not to draw conclusions about Puccini's personality. These would be valid focal points for study. What was important was to deepen our appreciation of the human condition as it is brought out in the operatic idiom.

© Sol (Shlomo) Hoffert
2351Brookhaven Ave.
Far Rockaway, N.Y. 11691
December 1977