Artistic language and communication

THE CHARACTER MIMI FROM THE OPERA “LA BOHÈME” BY
GIACOMO PUCCINI. THE RELATIONSHIP BETWEEN THE LIBRETTO,STORY AND CHARACTER, AS A MEANS OF COMMUNICATION
Doina Dimitriu URSACHI1
Assoc. Prof. PhD, „George Enescu” University of Arts, Iaşi, Romania
Corresponding author: Doina Dimitriu Ursachi; e-mail:ddimitriu70@gmail.com
1

Abstract
The most representative work belonging to Pucini “La
Bohème” sets up a portrait of the young Bohemians fromthe Latin neighbourhood of the Paris in the 1840s, withemphasis on the relationship between Rodolfo and Mimi.
The opera is inspired by the novel “Scènes de la vie debohème” belonging to the French writer Henri Murger andis based on a libretto belonging to Luigi Illinca andGiussepe Giacosa. The four acts present most of the detailsof the novel and of the play. Using the tragic love story
between Rodolfo and Mimi, the composer presents not
only the passion the spiritual unrest of two youngsters, butalso the romanticism full of artistic verve from the Franceof that beautiful period (Belle Époque). The young
characters and their story represent the defining elementsof Puccini’s work, which has been fascinating the public
over the years. In this studio we shall try to establish theconnection between the story, character and music.
Keywords: opera, verism, character, libretto.

1. INTRODUCTION
Four friends – the poet Rodolfo, the painterMarcello, the musician Schaunard and thephilosopher Colline – share their daily joys andworries in an attic in Paris. It’s Christmas Eve
and their mood is spoiled by the owner, whocame to collect the rent. The four manage to drive
him away and decide to spend the rest of theevening at the Momus coffee shop. Because heneeded to stay home for a few minutes, Rodolfo
is unexpectedly visited by his neighbour, Mimi.
The two like each other, confess their love andleave together towards the coffee shop. Using the
tragic love story between Rodolfo and Mimi, thecomposer presents not only the passion thespiritual unrest of two youngsters, but also theromanticism full of artistic verve from the Franceof that beautiful period (Belle Époque). Puccini’s
work recorded immediate success, starting from38

its premiere 1896, at the Regio Theatre in Torino,
having Arturo Toscanini as conductor.
Memorable arias, young characters and a loveheartrending story – are all defining elements ofPuccini’s work, which have been fascinating thelovers of the genre ever since and which haveinspired great modern music productions, suchas the rock musical “Rent” in 1996 (CARNER,
1992). An opera characterized by a seductive
lyricism, that constantly runs between the joy oflife, the enthusiasm of love and the abyss ofhope, introduces us to the Bohemiam atmosphereof Paris in the 1830s, where four friends sharejoys and sorrows in a cheap attic in Paris, on
Christmas Eve. This is the night in which
Rodolpho meets the delicate Mimi, his neighbour,
he passionately falls for her and together they
start a beautiful love story (DEGRADA et al.,1983).
The couple’s initial happiness is shadowed byRodolpho’s unjustified jealousy and doubt. Mimi
confesses to Marcelo, who then reveals toRodolpho the girl’s lung disease, aggravated by
the poor environment in which they were living
together. Taking into account the fact that Mimi
had to find a rich protector to pay for hertreatment, Rodolpho recommends a friendly
separation. A few months later, Rodolpho andMarcello, determined to dedicate themselves tocreation, feel sadness due to their separationfrom their girlfriends, Mimi and Musetta. The
atmosphere is animated by the short visit of theirfriends Colline and Schaunard, until Mussetes
arrival, which announced a visit from Mimi, who
was in the agony of her illness. Impressed, her
old friends try to offer her comfort in the small
attic, remembering all the moments they had
Volume 8 • Issue 1, January / March 2018 •THE CHARACTER MIMI FROM THE OPERA “LA BOHÈME” BY GIACOMO PUCCINI. THE RELATIONSHIP BETWEEN
THE LIBRETTO, STORY AND CHARACTER, AS A MEANS OF COMMUNICATION

spent together. Mimi declares her honest love forRodolpho. As a last token of friendship, the four
offer her a muff as a gift, and Mimi dies in peace,surrounded by the love of her friends (ADAMI,
1928).

2. PUCINNI’S STRUCTURALPARTICULARITIES
During the “fin-de-siecle period”, the newenthusiastic and cosmopolitan Italian culture
demanded, in an exigent manner, every opera
creation to come up with some novelty, creative,
a personal formal world, a crystallisation in aunique and exclusive manner of thecorrespondence between music and drama – asituation that has never been met before. This
may seem like a step forward, taking into accountthe ideal evolutional process influenced by
Wagner, therefore building a new musical drama,of an increased realism and a detachment fromthe rules and obstacles of the aesthetic genres,
implicitly the fixed forms, sometimes sacrificing
the fluency of the discourse. The regularity of theopera creations recorded a gradual descendent
turn, composers continually seeking possible
subjects, in the hope of finding an argument thatmight have presented both efficient drama andoriginality through the form of some new
expressions (AMICO, 1962).
Tosca is an interesting subject from all pointsof view, as it mainly doesn’t correspond to the
Pucinni’s stereotypes. Even if it expresses astrong personal will, Tosca is manipulated in thefirst act, deceived by the lover and his antagonist,
therefore becoming a passive victim; in thesecond act it genuinely suffers for her lover, but
in the decisive moments it rises again with aforce similar to Turandot, killing Scarpia andsetting herself free from suffering. As a result,she dies at the end of the drama, again being
deceived by her oppressor; her death at the endof act III is not similar to that of Manon andMimi: Tosca chooses her own faith, in some way,fighting against her destiny in a fatalist manner.
Again, the formal problem is based on
considerations that show that they exclusively
belong to an opera vision founded on drama. For
a complete, updated and multiform image of theInternational Journal of Communication Researchprotagonist’s portrait it is necessary tocontextually reassess it from the point of view ofthe structural particularities of the opera it
belongs to. The example of the opera Tosca
highlights better than any other the fundamental
lines of this evolution and, certainly, indicates
the ways in which Puccini succeeded whereothers usually failed. O reach reference materialon the genesis of the artistic act gives us, almost
immediately, the necessary coordinates. In 1889,
immediately after the premiere of his second
opera (Edgar), Puccini firstly expresses his
enthusiasm about Sardou’s drama, La Tosca,
which he viewed in 1895 in Firenze, having Sarah
Bernhardt as protagonist (DEGRADA, 1968).
Even if this first contact did not initially haveany succession, Puccini re-staged the idea of thedrama, since at the same time, from acompositional point of view, it confronted withhis new opera, Manon Lescaut; in this period, his
editor, Ricordi addressed the librettist Luigi
Illica, asking for a first abstract of Sardou’s text.
Manon Lescaut was finished in 1894, Puccini andIllica having already started to work on LaBohème(1896); Illica already had lots of doubts about thedrama, but Puccini was still enthusiastic, in theend managing to adjudge the subject. The natureof Illica’s dissatisfactions and those of his partner
Giuseppe Giacosa (whom Ricordi involved inthis project up to the end of 1895), are significant,proving how far Puccini wanted to open newhorizons with the help of all his recent new
creations (CARNER, 1992).
LaBohème is an opera devoid of what wemight call a significant weight of narrative
responsibilities: both present long chronologicalbreaks between acts and for this reason only they
are structured as a series of contrasting paintings,
each act developing a personal environment andto some extent, an autonomous drama. This
relatively free structure and the fact that theaction usually devolves, having minor
importance, offers significant opportunities ofinserting a series of small episodes, exaggerated
emotive moments which interrupt action,offering music the necessary space to develop a
sufficient lyrical discourse. These episodes
functioned as the drama equivalent of the opera
areas from the beginning of the 18th century,
therefore allowing an alternation between action
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Doina Dimitriu URSACHI

and dreaming, a situation that has always been
the heart of the Italian opera melos. An importantelement for the exceptional public success of
those two opera stems without any doubt fromthe fact this structural characteristic, as one of
Puccini’s major qualities consists of its infallible
capacity to balance the preciseness andimportance of these episodes in the complex
economy of the dramatic context (CAMERONI,
1872).

3. THE RODOLFO – MIMI DUET - CHI È
LÀ!??(ACT I)
Mimi’s first stage appearance corresponds toher first meeting with Rodolfo. The scene presents
in a relatively short period of time the heroine’s
major traits (the social status, the precarious
health status), although her lines are rare andlaconic. In the first section of the scene, themelodic discourse of the feminine character ischaracterised by a uniformity of the sound part,due to the obsessive repeat of the la sound (thedominant tonality re major, in which the musicalmoment is placed). Every line is highlighted byseparating it from the rest of the discourse, withthe help of breaks: Scusi./ Di grazia/ mi s’è spento
il lume./ Vorrebbe?.../Non occorre. The individualityof the character is emphasized by the double
intone in the accompaniment’s design of theleitmotif, that will accompany the heroine’s
every appearance throughout the opera. The
next moment of this scene is characterized by theminimum participation of the female character.
Its replies are lapidary, with prevalent negation
content, the heroine wanting to hide her healthstatus from her neighbour: No..., nulla. Her mostsignificant intervention is opposed to the priorones, due both to the dimension of the melodic
microstructure and her intonational character,which goes beyond the recitative sphere up to
outlining a clear melodic line, with repetitive
symmetric interval content. The unity element of
the melodic plan is represented by the repetitionof the la sound, a melodic constant which could
also be found in the previous fragment (RUBBOLI,1990).
Although the melodic plan for the female
character is discontinuous and synthetic, the40general sonorousness is achieved at the level ofthe accompaniment, which processes one of the
major leitmotifs of the opera, that of Mimi’s
illness. The second cell of this melodic element
having a symbolic role is transposed insuccessively descendent octaves, therefore
determining the activation of the discourse,which culminates, in the drama plan, with theheroine’s faint. The same discontinuous andlapidary character of the female character’s
discourse characterises the last fragment of thatscene. Together with Mimi’s short answeringinterventions, we find towards the end a more
ample melodic segment, having a recitative
character, built on the basis of the repetition of
the si sound with short divagations towards otherintonation structures. The recitative aspect of thecharacter’s intervention is emphasized by thedevelopment of the accompaniment, reduced toa series of chord pedals (DEGRADA et al., 1983).

4. MIMI’S ARIAL SI, MI CHIAMANOMIMI! (ACT I)
Although the musical discourse is placed in
the re major tonality, the intonation structure ofthis symbolic melodic idea is marked by thepresence of numerous adulterated elements (sib,fa becar, sol#), which destabilizes the tone centre,
gradually developing towards the dominanttonality (la major), instating through the createddissonances, an ambiguous atmosphere of
restlessness, which defines the main character’s
psychological trait. The combination between
gradual walking and successive leaps as well as
the progressive activation of the rhythmical side,
by using punctuated formulas contributes to theachievement of a live sound image, full of vitality,
which corresponds to the description of theheroine in the three appearances of the leitmotif:
Mi chiamano Mimì ma il mio nome è Lucia.. (They
all call me Mimi, but my name is Lucia), Son
tranquilla e lieta ed è il mio svago far gigli e rose (I’mcalm and happy, and my joy is to make lilies androses), Mi chiamano Mimì, e perchè, non so (They
all call me Mimi, but why is that, I don’t know)(MILA, 1959).
The composer engages the declamation
specific to the recitative in the context of the aria
Volume 8 • Issue 1, January / March 2018 •THE CHARACTER MIMI FROM THE OPERA “LA BOHÈME” BY GIACOMO PUCCINI. THE RELATIONSHIP BETWEEN
THE LIBRETTO, STORY AND CHARACTER, AS A MEANS OF COMMUNICATION

and the fact that he preserves the leading melodic
line in the secondary plan helps him avoid thatmetric lack of balance of the discourse, imposedby the freedom of a recitative. At the same time,
this alternation of discourse types allows theexpression of a large range of ideas, images andfeelings: Mimi’s leitmotif is associated with thesubjective nature of her portrait, with her feelings,
and the repetitive speech is associated with herdaily preoccupations: La storia mia è breve..A telao a seta ricamo in casa e fuori (My story is short …
I embroider on canvas or silk, home or outside).
The second period of this section introduces a
new melodic motif, that will also be associatedwith of the character’s ulterior appearances.
From an intonational point of view, one cannotice a prevalent valorisation of the scalar
structures, opposed to the previous leitmotif.
Another element contrasting the previous period
is represented by the metric side, the 2/4 measure
being replaced by the 4/4 one, which leads to a
resizing of the musical phrase, in direct correlation
to the agogic change (BOTTERO, 1984).
From a rhythmic point of view, the tensionof the phrase by shifting towards the acute
register, supported by a progressive division of
the acute register of values, from crotchet toquaver, triolet and sixteenth, a process that will
culminate with the climax of the segment, marked
by the highest sound of the phrase. Also, from atonal point of view, this climax will be stressedby a modulatory inflexion towards the do# minor
tonality. Although the accompaniment follows
the main sounds of the vocal plan, its structure
is not exclusively isorhythmic in relationship tothe descant. Moreover, its composition as well as
the horizontal isorhythm, based on a successionof problems, contributes to the dynamization of
the melodic phrase, the creation of drama tension,ingeniously solved by a succession of ornamented
formulas, by the use of the trill and of thearpeggio chords (SBÂRCEA, 1959).
All these elements of sound nature are usefulto the expressivity of the text, the lyricissm of the
melody revealing the heroine’s innocent but
profound feelings, her love for those things thatspeak about charm, love, spring, dream andpoetry: Mi piaccion quelle cose, che han si dolce
malia, che parlano d’amor, di primavere.../ che parlano
di sogni e di chimere..../quelle cose che han nome
International Journal of Communication Researchpoesia (I like those things, which present thatsweet spell, that talk about love, about spring /that talk about dreams and chimeras … / those
things that are called poetry). The second phaseof the period holds the function of solving thetension in the previous segment, the melodic line
having mainly a descendent route, the repetitive
scalar formulas, the sequential character of theirjuxtaposition, the simple rhythmic, based onquavers and quarter notes representing themeans to wind down the discourse. Although
the superior plan of the accompaniment keeps
the shyness of syncope of the succession ofchords, they will represent only the element oflatent dynamic of the segment. Also, stressing
the melodic line of this final period, as well as
the significance of the text is achieved by the
reduplication of the main melody (in differentways) in both plans of the accompaniment. The
final beat of the second phase is followed by ashort dialogue of a recitative type between thetwo stage participants (Mimi and Rodolfo),
which gives some colour to the intense melodious
discourse of the first stanza. The conclusion of
the first section will be presented by the
resumption of the melodic line with a leitmotifrole and this time the melodic line is fragmented
by pauses due to the composer’s intention tohighlight the inflexions of direct speech, thecontrast between question and answer from theheroine’s reply: Mi chiamano Mimi, il perchè, nonso (CAMERONI, 1872).
The second section of the aria has thesame small bio-stanza structure, but the melodic
material used is different from that previously
presented. The first period is symmetrical at thelevel of phrase organization, the two composing
segments being similar in the musical plan. The
melodic line has a simple construction, mainly
based on scalar formulas, the phrase’s motifs
having an ascendant path, interrupted bycounter-jumps, which diversifies the melodic
discourse. The rhythmical side is reduced to thecapitalization of two values, the quarter not andthe quaver, aspect which determines aharmonization of the melodic deployment, afluency of speech. The expressivity of the main
melodic line is emphasized by the simplicity of
the general writing, the descant of theaccompaniment doubles the vocal path, whereas
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Doina Dimitriu URSACHI

the inferior plan is limited to a pedal on thesound of the dominant, sometimes enriched bysounds that have a harmonic role (DEGRADA etal., 1983).
The preoccupation for highlighting the soloist
melody line has its ultimate goal in underlining
the content of the text, which represents a new
disclosure of the personality of the heroine, ofsome aspects deriving from her daily life, withdeep reflection in her interior feelings: Sola mi fo
il pranzo da me stessa, non vado sempre a messa ma
prego assai il Signor./ Vivo sola, soletta,/ là in una
bianca cameretta: guardo sui tetti e in cielo (I eat
alone what I prepare for myself, I don’t go towork very often, but I pray to God a lot./ I live
all alone, / in a little white room, with the view
towards other roof and towards the sky). Eachdetail apparently very simple receives, throughthe words of the character, a significance going
beyond immediate reality, therefore the entire
passage underlines Mimi’s loneliness, her hidden
prayers, her aspiration for a better life; theseemphases also receive a reflection in the soundplan, by changing the tempo at the end of eachphrase. The second period brings s a new changeof tempo, as well as new motif content, disposedin three distinct phrases. The main reason for thisperiod contains elements of dynamism throughthe group of quavers, as well as lyrical valences,through the latent representation of a descendentscalar structure highlighted by higher values,
therefore its subsequent processing covers thewhole expressive aria, from tension and drama
to melancholic lyricism (RUBBOLI, 1990).
From a drama point of view, the first two
phrases come into a sequential type succession,
which presents the expression culmination ofthis period, marked by the la2 sound, as well as
the double intonation in the context of therepetitive structure of the second phrase. The
initial motif of the period receives new and morediverse melodic and rhythmic configuration,
which will become simpler at its repetition fromthe end of the phrase. The purpose of the drama
approach is to highlight the direct presentationof the character’s aspirations, her simple joys, ofan innocent and apparently fulfilled love, whichhides the need for real love: ma qundo vien lo
sgelo/ il primo sole è mio/ il primo bacio dell’aprile è
mio!/ il primo sole è mio (But when defrost comes42/ the first sun is mine / April’s first kiss is my /the first sun is mine. Her love desires arepresented by the obsession repetition of thephrase è mio, presented in the musical plan by
the motif repetition. The accompanimentcontributes to increasing the tension of the
discourse, the superior plan doubling the main
melodic line in octaves. Also, the tensioned chord
successions, chords with unresolved seventh
contribute to the achievement of the accumulated
tensions (MILA, 1959).
The last phrase values the same basic methodof the B1 period, but the process of its
transformation starts from the cadence hypostasis
from the cadence of the previous phrase; themelodic unity of the whole segment will be givenby the continuous transformation of a uniqueformation which subsequently turned into a newentity, with a different rhythmic and melodic
frame from that of the initial one. The last sectionof the aria partially replays the first articulation(only the A1 period), this time in a new, moretense and more dynamic syntax than the initialone. Although the main melodic plan suffers
insignificant changes in intonation, theaccompaniment takes place on multiple plans,
which sometimes identifies the successions ofsyncopes completed by the doubling of thesoloist line in the descant (SBARCEA, 1966).

5. MIMI’S RECITATIVE SA DIRMI, SCUSI(ACT III)
Despite the free character of the discourse, therecitative can be delimited into three segments
using prolonged crown breaks. Also, we noticea motif connection of the three fractions of form,
the composer starting from a small number of
melodic cells that he transforms on the basis ofrepetition or interval variation. The first segment(act III) distinguishes itself because of the absenceof accompaniment, the freedom of thedeclamation being suggested by the Andante a
piacere indication. The procedure of micro-cellar
treatment is visible on the plan of the intonation,
the main unity being represented by thedescendant third jump, successively descendanttransposed into various melodic hypostases(augmented by the repetition of an inversed
Volume 8 • Issue 1, January / March 2018 •THE CHARACTER MIMI FROM THE OPERA “LA BOHÈME” BY GIACOMO PUCCINI. THE RELATIONSHIP BETWEEN
THE LIBRETTO, STORY AND CHARACTER, AS A MEANS OF COMMUNICATION

sound). Each appearance is separated from theprevious ones through breaks, therefore each
reply in the spoken discourse of the character isvalued: Sa dirmi, scusi/ qual’è l’osteria/ dove unpittor lavora? (Could you tell me please, which is
the tavern/ where a painter works?). Also, theending of the phrase introduces a new interval,
the descendant quint, subsequently repeated,
under the form of the thank you answer of thecharacter - Grazie – in the same spirit of the motif
unity. The diversity of the sound discourse
belongs to the rhythmic side, mainly composedof triolet formulas in diverse configurations, thedivision of the main unit are achieved according
to the necessities imposed by the text. The second
segment uses the accompanied recitative,
together with the intervention of the orchestra,
the discourse of the soloist party evolving
towards a balance of the rhythmic and metricpulsation. The triolet formulas have a uniformcharacter, the only variation element belonging
to the use of pauses, which separates melodic
micro-unites. From a melodic point of view, we
notice a fragmentation of the phrase in threemotifs, separated by breaks. The first two
formulas are based on the descendant chromaticpath, they are sequentially changed and the last
motif reminds us of a previous section of therecitative through the final jump of descendantquint (SBÂRCEA, 1959).
The chord accompaniment follows thedescendant chromatic path of the vocal line, also
setting a succession of chords with unsolved
seventh, which suggests the heroine’s restlessness
and anxiety: O buona donna, mi fate il favore/ dicercarmi il pittore Marcello?/ Ho da parlargli! (O,fair lady, could you do me the favour/ of l ooking
for the painter Marcello?/ I have to talk to him!).
The last segment represents a varied reply of theprevious one, using the same descendant
formulas, ended with a scale unit followed by aquint jump. We notice the same phrase
segmentation into three motifs, as well as thesequential report between the two. The structureof the accompaniment stays within the samechord pattern, as well as in the dissonant sonority,offered both by the harmonic structuralcomposition, as well as in the dissonant sonority,offered both by the composition of the harmonic
International Journal of Communication Research

structures, and by the relationship among them
(DEGRADA et al., 1983).

6. MIMI’S ARIA DONDE LIETA USCI (ACT III)
Although it fits into the same three-stanza
pattern that was used before, the three sectionsof the aria are different at the level of the soundmaterial, at the same time manifesting a
fragmented character, mosaicked in the interiorof each articulation. Although we can make ascheme of the way in which each period iscomposed according to the classic model ofphrase delimitation, the component segments
don’t have the characteristics of a phrase itself.
Moreover, the dimensions and their inflexional
composition impose a segmented aspect on the
discourse, under the form of some motif
juxtapositions. The first period begins with thepresentation of Mimi’s leitmotif and the first
motif is overlapped here, characterised by therepeatability of the sounds, which highlights thenatural rhythm of speech. The precipitateddiscourse of the heroine is also underlined by thedivided rhythmic, naturally ending in a
succession of higher values, similar to the endingof a phrase in direct speech (MILA, 1959).
Although the following phrase has someample dimensions, the fragmented character ofthe discourse is underlined by the delimitationof each moment with the help of rhythmic breaks
or expression legate, each having a different
rhythmic and melodic component. The firstreason imposes itself through the descendant
chromatic path, the second one through aninflexional and rhythmic uniformity, the third
reason represents the expressive climax of theperiod by reaching the highest sound throughskipping, and the last micro-unit has the role ofcadenza. We notice an evolution of the meaningof the text alongside this tense gradation achievedon the basis of this juxtaposition. The heroine
speaks about her rather impersonal feelings, but
her words present the pain of being alone, ofgoing back to a life that she now, after findingtrue love, she considers worthless, similar to herembroidered flowers without any smell:
torna
sola Mimi al solitario nido./ Ritorna un’altra volta a
intesser finti fior! (Mimi comes back alone to her
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Doina Dimitriu URSACHI

lonely nest. / She come back once again to makesome artificial flowers) (CAMERONI, 1872).
The unstable tonal plan, comprised of a pedalon the lab minor tune, is diversified with chromaticelements, presented in the superior plan of theaccompaniment, whereas the syncope succession
from the inferior plan contributes to intensifying
the state of restlessness, which dominates thewhole fragment. The last phrase of the period
basically represents the conclusion of the whole
section, both due to the melodic aspect,characteristic to cadence formulas and to theclear tonal centration (perfect cadenza on thetonic of the dominant tonality!). The second
period, although it keeps the same fragmented
character, it can be delimitated by the first andlast second segment, giving birth to a structuralsymmetry. The first sentence imposes itself
through the melody of the vocal line, highlighted
through the contrast between the scalar formulas
and the unexpected jump, through an economyof the rhythmic means, through the diatonism of
the inflexional path, as well as the simplicity of
the accompaniment’s writing, composing a
superposition of chords with the role of harmonic
support and the transposed variance of the main
melodic line (ARBASINO, 1976).
The second phrase has a more diverse rhythmic
and melodic composition, the juxtaposition of
motifs giving birth to an association between
related formulas and contrasting melodic
organizations. The phrase’s unity element isrepresented by the rhythmic side which presentsa short boosting only in cadenza (values of
sixteenths), the discourse’s vitalising function, itsrole of driving force belonging to theaccompaniment, comprised of a variety of
formulas: values that follow each other incontretemps,
thesound’s
superior
ornamentations, chords in arpeggio, ascendantand descendant arpeggio figures. The last phrasethat represents an identic repetition of the first
segment of the period ends with an accompaniment
intonation of a fragment from the second motif
associated with the character of Mimi, whichpeople can encounter in the aria Mi chiamano
Mimi. If the beginning of the first section ismarked by the leitmotif that encompasses the
feelings of the character, the second section
returns to the melodic motif which opens the44

segment with a confessional character from theheroine’s aria in act I, therefore completing
Mimi’s portrait: Ascolta, ascolta. Le poche robe
aduna che lasciai sparse./ nel mio cassetto stan chiusi
quel cerchietto d’or,/ e il libro di preghiere./ Involgi
tutto quanto in un grembiale e manderò il portiere.
(Listen up, gather the few thing that I have left
dissipated./ In my drawer the golden ring islocked / and the prayer book./ wrap everything
up in an apron and I shall send the doorman totake them away) (MILA, 1959).
The last period starts in an unusual sonority,
the la major tonality bringing an un unexpectedsound contrast, the composer wanting tohighlight the moment of maximum dramatic
intensity of this aria: although Mimi says
farewell to her love, she gives Rodolfo a sign inorder for him to remember their love: Bada!
Sotto il guanciale c’è la cuffieta rosa./ Se vuoi, sevuoi, se vuoi serbarla a ricordo d’amor! (Be careful!
My pink bonnet is under the pillow./ If you
want, keep it to remind you of our love!). Thistime, the discourse returns to the mosaic
structure from the beginning, each exclamation
being associated with a melodic motif; also,
these micro-units have a different melodic
component, as well as contrasting dimensions,according to expression used in the text, fromtwo sounds to more complex motifs. The
rhythmic formulas are equally diverse, including
both static groups and combinations of different
visions on time, therefore their joining createsthat impression of a spoken language. The
climax represented by the si2 sound has acorrespondent at level of the text, the expression
ricordo d’amor, the composer therefore
highlighting the feelings of the character,previously hidden in the apparently indifferent
enumeration of the things left in her room. The
accompaniment contributes to making thediscourse more tense, by amplifying sonority,
by doubling the melody in octaves, as well as
the use of the tremolo. The last sentence of thearia brings once again into the sound plan themain reason of the median section, whereas the
vocal plan replays, in a different melodic
component, the ending phrase of the firstsection, Adio, senza rancor.. Therefore, thesegment gains a conclusive-synthetic function
for the entire aria (CAMERONI, 1872).
Volume 8 • Issue 1, January / March 2018 •THE CHARACTER MIMI FROM THE OPERA “LA BOHÈME” BY GIACOMO PUCCINI. THE RELATIONSHIP BETWEEN
THE LIBRETTO, STORY AND CHARACTER, AS A MEANS OF COMMUNICATION

7. CONCLUSION
Inspired both by the novel “Scènes de la vie
de bohème” belonging to the French writer Henri
Murger and its theatrical adaptation, the “La
Bohème” opera is based on a libretto belonging
to Luigi Illica and Giuseppe Giacosa. They haveassumed a large part of the details of the noveland of the play, such as combining the two
characters, Mimi and Francine, into only one(Mimi) and the death of the female main character.
Through the tragic love story of Rodolfo andMimi, destinies of dreamers and also tragic,
Puccini present not only the passion and thetorments of the two youngsters, but also deromanticism and the artistic glow of France fromthe Belle Époque period. Puccini’s opera had an
immediate success, starting from its premiere in
1896 at the Regio Theatre in Torino, having
Arturo Toscanini as conductor. Late on, in 1946,
the same Toscanini conducted “La Bohème”, inthe interpretation of NBC Symphony Orchestra,
especially for a radio recording. Memorable
arias, young characters, a heart-breaking lovestory – are all defining elements for Puccini’s
opera, which have fascinated the lover of thegenre throughout the years and which inspired
modern musical productions, such as the rockmusical “Rent” in 1996 (CARNER, 1992).
This exciting romantic masterpiece, which isconsidered to be one of the most fascinating
universal lyrical creations, come back to the Cluj
Opera House after an absence of almost two
years. Known as an opera of contrasts, which
oscillates between dramatism and comedy and“Boema” (“La Bohème”) had its premiere in 1896
at The Regio Theratre in Torino, reaching an
incredible success. It soon became an international
opera reference and one of the most presented
shows on the great opera scene of the world,
reaching a great performance due to its at least
100 representations to the well-known opera
house, Opéra-Comique in Paris, up to the year 1903
(ANDRIEŞ-MOLDOVAN, 2007).
The opera is structured into four acts, whose
libretto is based on the well-known novellaInternational Journal of Communication Research„Scènes de la vie de bohème”, belonging to Henri
Murger, and it places the musical story in acharming Paris of the 1830s, following the livesof four friends: the poet Rodolpho, the painterMarcello, the musician Schaunard and thephilosopher Colline, trapped in the poor
condition of the artist in those times. Despite alllacks, the lives of the protagonists are brighter
due to their honest friendship and the true lovethat the hero Rodolpho gets to know together
with the mysterious and the delicate Mimi
(CAMERONI, 1872).
References
ADAMI, G. (1928) Giacomo Puccini - Epistolario,
Milano:Mondadori.
AMICO, F.D. (1962) Naturalismo e decadentismo in Puccini,
Milano:I casi della musica.
ARBASINO, A. (1976) Giacomo Puccini - radio program,
Nuove interviste impossibili, Available from: https://
youtu.be/BiLF_euHKN4 [16 iul. 2011].
ANDRIEŞ-MOLDOVAN, E. (2007) Prototipuri feminineîn creaţia pucciniană, Cluj : Mediamusica Publishing
House.
BOTTERO, A. (1984) Le donne di Puccini, Lucca: Maria
Pacini Fazzi.
CAMERONI, F. (1872) La Bohème. Scene della Scapigliatura
parigina di Enrico Mürger precedute dai paradossi del
Pesimista, dai cenni biografici e dagli studi critici raccolti dalmedesimo su E. Mürger e sulla Bohème, Milano: Sonzogno
Publishing House.
CARNER, M. (1992) Puccini:A Critical Biography, London:
Holmes & Meier Publishers Inc.
DEGRADA, F. (1968) INDICI DE “LA RASSEGNAMUSICALE” (Annate XXIII-XXXII, 1953-1962) e dei
QUADERNI DELLA RASSEGNA MUSICALE,
Firenze:Olschki.
DEGRADA, F.F., FERRARIS, M.P., LUZZATTO Fegiz,M., FIORAVANTI, G., (1983) MUSICA MUSICISTIEDITORIA. 175 anni di casa Ricordi. 1808-1983. Prefazione
di Herbert von Karajan. Milan: Ricordi.
MILA, M. (1959) La novita di Boheme - in Giacomo Puccini,
Milano:C. Sartori.
RUBBOLI, D. (1990) Giacomo Puccini: l’ultimo di una‘bottega’ di musicisti, Italia: Lucca.
SBÂRCEA, G. (1966) Giacomo Puccini, viaţa şi opera , ediţia
a II-a, revăzută şi adăugită., Bucureşti: R.S.R MusicalUnion of Composers Publishing House.
SBÂRCEA, G. (1959) Giacomo Puccini, Bucureşti: R.S.R
Musical Union of Composers Publishing House.

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