Annabel Arden’s La Bohème is marked by the fresh, youthful enthusiasm of the cast in a generally charming production. Here revived by Caroline Chaney the 2012 production has a contemporary feel gained through theatrical, video effects without interfering in the exquisitely crafted opera.
The use of pretty video from Nina Dunn, sketches of Parisian rooftop skylines, swirling snow, combined with the simplicity of the direction, proved particularly effective in the artists’ garret, where young love flourishes and fades, joy and disappointment rub chilly shoulders.
This is not a chocolate box production but one that doe snot hold back from telling us this is a grubby world, a poor, sickness and poverty filled underclass of society where women are driven to prostitution and even idealistic artists sell their talents to anyone who will pay a bill.
La Bohème is a straightforward story which is best not tinkered with and so while Stephen Brimson Lewis’s designs are evocative of fin de siecle Paris and Act Two rather cluttered and gimmicky the key scenes are conventional enough. There are no attempts at using it as a vehicle for anything more than a tragic love story.
Yes, this Mimi is no little innocent, here she blows out her candle (twice) to create the situation for the first encounter with Rodolfo for example, such is Puccini’s mastery of playing with our emotions it is impossible not to adore her. She does not come across as a complete contrast to the worldly Musetta who is just more blatant about using her sex to get what she wants. In fact, her coquettishness is enough to make you believe she could be the flirt Rodolfo describes before admitting he needs to leave her because she is dying. Yet such is the tenderness of Marina Costa-Jackson’s singing it does not matter that it does slightly make Rodolfo, singing with heroic timbre and sensitive acting from Dominik Chenes, as a bit of a randy and then lovesick puppy.
Lauren Fagan and Gary Griffiths
Dominik Chenes and Marina Costa-Jackson
Lauren Fagan and Gary Griffiths with cast
Marina Costa-Jackson and Gary Griffiths
The scenes between the two are genuinely heartfelt, plenty of tingles rushed and down the spine and I have to admit a little tear formed in the eye from Mimi’s impassioned but futile yearning for life at the death scene.
But then the boys are that – silly boys, in first flushes of youthful idealism, before Mimi’s death smacks them in the eyes with the reality of slum living in 1830s Paris.
A warm, intelligently sung and acted Marcello from Gary Griffiths was another delight of the evening, having been elevated from the role of Schaunard in the first outing of this production in 2012.
There was also lots to enjoy from the fiery Musetta from Lauren Fagan. Vocally she waltzed her way through her big Act Two aria although I found this scene cluttered. I am sure we are supposed to recognise references to personalities and types of the period at the Café Momus, whether the transvestites or Parpignol the pedlar in monkey suit, (Michael Clifton-Thompson). Fortunately once the signing began the chorus members elevated themselves from such concerns.
The other two Bohemians gave both notable support to the four main roles and also carved out effective portraits with Gareth Brynmor John as Schaunard and Jihoon Kim a rich bass Colline.
The hero of the evening has to be Puccini’s perfectly crafted score here in the hands of conductor Manlio Benzi.
- Wales Millennium Centre, Cardiff Until 15 Feb
- Milton Keynes Theatre 22 Mar – 23 Mar
- Bristol Hippodrome 29 Mar – 30 Mar
- Venue Cymru, Llandudno 5 Apr – 7 Apr
- Theatre Royal, Plymouth 19 Apr – 21 Apr
- Mayflower Theatre, Southampton 26 Apr – 28 Apr
For full tour details: www.wno.org.uk