Act Three

The curtain raises and reveals a cold winter scene. We have found ourselves outside of Musetta and Marcello’s new apartment, and he is seen leaning by the door smoking a cigarette. Musetta is upstairs giving a voice lesson to (who is implied to be) a wealthy male patron. It’s understood that Musetta is the breadwinner and that she covers most all of their expenses. After Marcello learns about Mimi’s illness from Rodolfo, we hear Musetta laughing from inside. Marcello quickly runs in to investigate. Mimi and Rodolfo have reconciled by the time that the two lovers re-enter, and they have come down in the middle of a yelling match.

From what we can tell from their dialogue, Musetta has once again found herself in the same argument that ended their relationship initially. Marcello is a jealous man that wants Musetta to remain monogamous. However, time and again Musetta has stated that she wants to maintain her freedom, and that it isn’t something she is willing to compromise on. Musetta may be a musician by trade, but she also works as a courtesan - her sex work is what pays the rent. In this argument, Musetta doesn’t mention this fact, which I find interesting. She merely states that she will flirt with whomever she likes, and in the previous act she talks about how much pleasure all of the attention gives her. This leads me to believe that despite her being in love with Marcello, she also wants to leave the door open for other romantic relationships. It would seem that her motivations are not purely monetary. We should consider the possibility that Musetta might be polyamorous. Even though she may consider Marcello to be her primary partner, evident by the fact that they live together, she refuses to deprive herself of other relationships.

We can gather from the context given in second act that Musetta is well known in her area of Paris. However, she was not popular enough that she can always live in luxury, which is evident in the setting of the third act. She certainly is no Violetta from “La Traviata” or Magda from “La Rondine,” although she might like to think of herself as their equals in status. Because Musetta has not yet been “adopted” by one patron, she has to continually work to find her next donor.