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Opera Review

It all ends up quite well, indeed quite splendidly; the cast taking their calls to a most enthusiastic reception, Mimi resurrected and the accomplished pianist revealed as a slim young woman with long dark hair. I must admit that to start with I had my doubts. On taking my seat I was confronted with a singularly unattractive set, which showed, rather than disguised, the limitation of the small stage. 1960’s I wondered? No, perhaps ‘nowish’. Oh, dear, I was going to miss the little black stove, and the slanting skylight giving on to the roofs of Paris.   You know the story: a young painter and a writer are starving and freezing in their garret, equally impoverished friends call, they adjourn to the local cafe, leaving the writer, Rodolfo, to work on his masterpiece. A young consumptive fellow-tenant, Mimi, calls to borrow something and they fall in love.  Act II transfers to the cafe and the jolly Musetta leads much needed relief. A return to the garret for some splendid songs and the death of Mimi on Rodolpho’s couch.   

 
Back to my first impressions – two men enter, one in a leather jerkin who goes to his easel – that must be Marcello (Nick Dwyer) and the other in a lumberjack shirt who takes up his lap top – that must be Rodolfo (Gareth Morris). Oh, dear. This is definitely going to be a ‘Nowish’ production. I am quite willing to accept ‘modern’ dress if there is a justification, and in this case it was not only justified but mandatory. Bear with me and I’ll explain.
And was I going to miss Puccini’s wonderful orchestrations? Surprise! Not at all! The piano accompaniment of Genevieve Ellis was so sympathetic, with such clarity and expertise that it was a joy to hear. The two men begin to bark at each other – the friends arrive and join the barking. About 15 minutes in they seem to have found their voices and this is confirmed by the arrival of Mimi (Rhona Mckail) and we know we are in the hands of a an accomplished soprano.

Interval - and I had been wondering how they would change the set to the cafe scene. Some of the audience seem to be growing restive. The music started and some of the audience began to sing!  No, it wasn’t the audience - it was the cast (modern dress obligatory, you see?) and Act II was to be played in the auditorium. Now this was OperaUpClose, and it was very exciting to have Puccini belted at you a few feet away.  Musetta (Una Reynolds) came into her own and a more scintillating Musetta I can’t hope to see. Oh, and in this scene Martin Nelson in the small (and non-singing) part of Alcindoro was quite magnificent – Nice to see an elegant actor these days.

Of course we return to the stage for Acts III and IV but by then the cast could do no wrong. The voices rang out the glorious Puccini melodies, the acting so good that not a dry eye was to be found as Mimi expires on Rodolpho’s couch. Bravos for all, the translation getting the laughs where appropriate, (Robin Norton-Hale) the production spot on, (Robin Norton-Hale again) vocally excellent, and Puccini’s music, what more could one ask?