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Premiere: Turin, February 1, 1896
Conductor: David Rohrbaugh
Kim A. Tolman’s large-scale set design is a masterpiece of a Monmartr’ian Rubik’s Cube. It turns and repositions, and gets re-dressed and re-purposed with eye-popping results. Twice, the curtain reveal of a new setting garnered well-merited audience applause.
…The visual effect of each set was pitch-perfect, with a first act "garret" room that filled the entire stage, allowing ample room for group movement, but providing individual spaces for each singer. The painter Marcello perched high on a ladder, while poet Rodolfo's musings were visually framed in a small corner balcony.
...with Kim A. Tolman's imaginative set designs and Kent Dorsey's lovely lighting
Winning over the audience, though, was Café Momus. After Rodolfo's rather prosaic apartment, the scenery in Act II justified applause: tall Parisian storefronts melding seamlessly into the backdrop, cool blue lighting bringing out shadows of wrought iron balconies.
The painterly sets by Kim A. Tolman are superb throughout but the second act gives us an 1840s Latin Quarter with wonderful fidelity and depth.
Kim A. Tolman's sets, especially the Latin Quarter street scene in the second act and the Orleans gate in the third, were eye-catching and a perfect scale for the production.
The scenery by Kim A. Tolman was just right for evoking the artists threadbare attic, a splashy outdoor setting for Café Momus, and a chilly customs post at the city gate.
© 2006, Kim A. Tolman Design.