Home page PresentReviewers Latest Reviews English National OperaLa Boheme
Photo copyright English National Opera and Robert Workmanby Giacomo PucciniRevival directed by Ian Rutherford London Coliseum10 performances February 22 nd – March 30 th , 2007
The poignancy of Puccini's tale of star-crossed lovers was heightened by National Theatre Artistic Director Nicholas Hytner's dedication before this; the sixth revival of Steven Pimlott's tremendously popular production of La Boheme . Sadly, the operatic acclaimed director, who originated this well-regarded version of Puccini's work in 1993, passed away on Valentine's Day of this year, following a long battle with cancer. Hytner spoke of him with great affection and respect, saying that there were ‘few people on that side of the footlights who would be remembered more fondly.' The opera begins on Christmas Eve with poet Rodolfo and artist Marcello struggling to keep warm in the cold, sparsely furnished garret they share on the Left Bank of Paris. Luckily their flatmate Colline arrives with their comparably affluent mutual friend Schaunard, who brandishes a wad of money he has managed to earn. As he is in a festive mood, he generously divides the cash between them and suggests they all go to Café Mommus for supper. After successfully dodging their landlord's request for six months back rent, all depart, save Rodolfo who stays behind to finish an article he is writing. A light tap on the door heralds the arrival of ethereal Mimi, the elusive upstairs neighbour he has never seen before. In the moonlight, their eyes and hearts meet and the results are deeply romantic, inevitably bittersweet and ultimately tragic. Puccini's sublimely beautiful score soars under the knowing direction of Xian Zhang, Conductor of the New York Philharmonic. It is an extremely gratifying experience, hearing the music of this beloved opera keeping pace with its passionate proceedings. Peter Auty plays temperamental Rodolfo with great strength and charisma, his powerful voice expressing the great depth of his character's strong passion and emotions. His duets with leading lady Mary Plazas are truly heart stopping. Plazas, who played Mimi in Pimlott's seminal production in 1996, also starred in ENO's 2005 Olivier Award winning Madame Butterfly . If anyone thought to exhale during the duets of this talented pair, you could have heard a sigh; such was the rapt attention of the audience. Plazas portrays fragile Mimi with a sweetness, which surprises once her character's inner strength is revealed. Mark Stone is a strong, yet vulnerable Marcello who pines for the love of his wild Musetta. The two ardent men sing about the women they adore with a clarity and sense of purpose that rings ironically true. It is in these moments that it becomes apparent that Puccini was ahead of his time with such non-traditional role reversals. Giselle Allen aptly plays strong-willed Musetta as a seemingly bad woman who beneath all her wantonness has a gracious heart. It is a delight to watch and, listen as she hurls dagger-cloaked words of love across the long dining table at her estranged lover Marcello as he attempts in vain to hid behind his newspaper.
Musetta (Giselle Allen) Photo copyright English National Opera and Robert Workman Matthew Rose makes his ENO debut in the role of philosophical flatmate Colline. Iian Patterson, who played Figaro in Olivia Fuch's recent ENO staging of The Marriage of Figaro, sings the role of their flush friend Schaunard with panache. Robert Poulton has the dubious honour of playing a scorned man times two in the guise of the dreaded and long avoided landlord and Musetta's discarded sugar daddy.
Colline (Matthew Rose), Rodolfo (Peter Auty) foreground, Schaunard (Iian Patterson), Landlord (Robert Poulton) foreground and Marcello (Mark Stone) Photo copyright English National Opera and Robert Workman
The ENO production of La Boheme is a true classic in terms of its strength of feeling as well as presentation, for unlike many of the operas that have been written and/or produced in recent years, it features a singing chorus and detailed crowd scenes, which well thought out, versatile sets designed by Tobias Hoheisel greatly enhance. The only hitch comes in the fact that at times, the division of the set tends to cause confusion as it is generally used to represent the world outside of the studio and/or café but is also employed, in a symbolic way, perhaps, for Mimi's final poignant scenes with her Rodolfo. In Pimlott's imaginative production, potentially stagnant convention has been agilely sidestepped in favour of an enjoyable, accessible blend of post war idioms and classical references, which is sure to please opera aficionados and newcomers alike. Along with Puccini's other successes Manon Lescaut (1893) Tosca (1900) and Turandot (1924) he is, without doubt, best known for his tragic operas Madame Butterfly (1904) and La Boheme (1896). However, in Pimlott's production of the latter, as attentively directed by Ian Rutherford, the opera, despite its tragic overtones also contains tenderly light-hearted moments, which, together with its main theme of impermanence serve as apt reminders of the fragility and transience of love and life itself.
Box Office 0870 145 0200or See Tickets 0870 264 3333 - 24 hours/booking fee
Copyright © EXTRA! EXTRA! www.extraextra.org The only online theatrical publication for and by its readers All rights reserved
|
