Organization

Singer

Soprano

Nóra Tatai

Mimi

Timea Vermes

Marianna Váradi

Musetta

Baritone

Szabolcs Bognár

Marcello

Gergely Kállai

Schaunard

Bass

Dávid Dani

Colline

István Györfi

Benoît

Alcindoro

Stage director

Yvette Bozsik

Conductor

Péter Oberfrank

Costume designer

Kriszta Berzsenyi

Set designer

Balázs Cziegler

Choreographer

Zsolt Molnár

Director's staff

Balázs Vincze

Assistant Director

Frank Fruzsina

Ahmann Tímea

Orsolya Horvath

Tenor

David Bergovecz

Rodolfo

Roland Tötös

Pal Matyas Toth

Dean Dominik

Parpignol

National Theatre of Pécs

Orchestra

Pannon Philharmonic Pécs

Others

Pécs National Theater

Ballet

ungāru

La Bohème

Pécs

Hungary

La bohème Puccini

Public

Approved

The Horsemen of the Apocalypse, also known as The Four Horsemen of the Apocalypse, is listed in the book of Revelation as one of the signs of doomsday. The four horsemen are the epitome of War and Sickness, Famine and Death. The four protagonists — the poet, the musician, the painter, and the philosopher — are allegorical incarnations of the four horsemen of the Apocalypse. Armageddon is the site of the final great battle between the armies of God and the Antichrist in the book of Revelation.

This battle has already begun and is still going on between the forces of darkness and light on earth. Puccini had visionary vision because he envisioned pain and poverty in his own age that seems to be coming true in our world today. Paris fell, the center of art became an anarchic, war zone. Notre Dame burned down. Crowds of people live on the streets. The plague of our modern age and the fear of it reigns. Bohemian life can be easily portrayed as a postcard from Paris or as the coming of the great Chaos. According to our concept, a III. we want to present the post-world war world. The protagonists living in the Notre Dame refuge are the Eiffel Tower already half-collapsed. The end of the world is coming to an end, says Puccini with one of the characters, Colline. According to the director’s concept, the opera will begin at this point. We will see an apocalyptic, dystopian world of survivors struggling day by day, wandering the streets aimlessly, thinking only of survival. Art has devalued, artists have become exiles, and no one needs painters, sculptors, musicians, poets and philosophers. In this world, Mimi is a symbol of purity and beauty, a saint who is also a teacher. His tragic fate teaches the actors that without love, the heavenly law has no meaning in life. God has a law, love. In this world, Mimi is a symbol of purity and beauty, a saint who is also a teacher. His tragic fate teaches the actors that without love, the heavenly law has no meaning in life. God has a law, love. In this world, Mimi is a symbol of purity and beauty, a saint who is also a teacher. His tragic fate teaches the actors that without love, the heavenly law has no meaning in life. God has a law, love.

Rodolfo’s greatest drama is that it exists in fear. It cannot reach a higher level of consciousness. The illusion that suggests and conveys that mankind is constantly afraid of sickness and death captivates man in his own bodily misery, pain, and thus writes down his destiny. Death has become an industry in Western culture today, and people are conceived of it from birth as a dread. But if we accept life, we must also accept death. The body jacket we put on and take off. There is only infinite consciousness. Mimi’s death gives us guidance that it is only worth living in love.

In love we will be the same as ourselves, neither space nor dimension matters. This is the deepest acceptance and the highest vibration level. Where there is love, there is no fear and no sickness. Puccini, as one of the greatest geniuses, was a mediator between heaven and earth and brought us this beautiful work so that we could pass on the teaching to ourselves and the audience.

Finished with Mimi’s words: I live in quiet solitude, there will be my beautiful little room, yet I see how beautiful the Sky is!

(Yvette Bozsik, director)

English

La Bohème by Puccini, No (2022/2022), Režisēja Yvette Bozsik,, Diriģents Péter Oberfrank, National Theatre of Pécs, Pécs, Hungary

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