To mark the centenary of the Puccini’s death, English National Opera opens its season by reprising Jonathan Miller’s iconic 2009 staging of of La bohème, under Revival Director Crispin Lord. The rotating cutaway set designed by Miller’s long-time collaborator Isabella Bywater– artist’s garret upstairs on one side, bohemian watering hole downstairs on the other – gives us inter-war Paris in various shades of grey. The drabness is leavened by some exquisite lighting, overseen in this revival by Marc Rosette: the gentle glow of pendant lamps in the garret, the bitter blush of dawn at the beginning of Act 3, the inviting gleam of an interior glimpsed through windowpanes as snow falls softly outside.
Above all, this vibrant yet gritty Paris is brought to life by the escapades of its inhabitants. Here, the impoverished artists are a likable bunch. There was play-fighting with baguettes and boisterousness on tap, the physical chemistry persuasive. Charles Rice returns to reprise his role of Marcello following his performance in La boheme during the 2021/22 season, his generous baritone made for a sympathetic Marcello. Dingle Yandell, making his ENO debut in the role of Colline, was lucid and radiant as he prepared to pawn his beloved overcoat.
Internationally acclaimed British-American tenor Joshua Blue, also making his ENO debut as Rodolfo, was ardent and heartfelt, and the emotional intensity of his Act III liaison with Mimì (played by Nadine Benjamin MBE) was deeply affecting. Award-winning soprano and former Harewood Artist Benjamin returns to the ENO following her award-winning performance as The Mother in Tinuke Craig’s Olivier Award nominated production of Blue (2023). As Mimì, she was crisp and stirring in equal measure, and at her heartbreaking best in Acts III and IV. Her soprano’s crystalline edge cut deep as she and Rodolfo tussled together, before she found almost unendurable poise and reserve in the final act. South African soprano Vuvu Mpofu, making her ENO debut as fickle, exuberant temptress Musetta moved in a similar arc: uncontrollably effervescent as the centre of attention in Act II, only to dim her voice to a mere murmur in the final denouement.
In the pit making her ENO and UK opera debut, Italian conductor Clelia Cafiero drew out sumptious warmth from the string section and some stylishly shaped woodwind solos. Her keen sense of pace – Puccini’s phrases chiselled to take in the most subtle suppleness of tempo – made for an extremely compelling performance.
La bohème at ENO, London Coliseum, St Martin's Lane London WC2N 4ES
For tickets please visit eno.org
