LA BOHEME
Puccini’s masterpiece is the opera that I have seen more times than any other, and one that I will never tire of. From those striking opening notes to the final plaintive and distraught words of sorrow almost screamed by Rudolfo there is not a moment that is not utterly captivating.
Last Night Ellen Kent’s company delivered the music with total conviction, a strong chorus on the stage and a powerful orchestra in the pit carried the drama forward in classic form. And I say that because over the years I have seen some rather weird productions, perverse, even one that opened in a Berlin drug den!
Ellen Kent does traditional and in doing so has for many many years brought classic opera to a wide audience in an approachable form and at affordable prices too.
You may guess by this point that I hold Ms Kent in high regard and I do, but last night I felt that something was amiss. Opera for me is a complete artistic form. For some the music is enough, I know people who will sit and listen with their eyes closed. Not me, I like a total experience, setting, acting, spectacle. Otherwise I might as well listen at home.
This production has been around for some time, and it shows. The set is tired and seems unloved – and it is very old fashioned. The costumes vary in both quality and style, some excellent and some, well shall we say basic. The props are equally lacking in consistency.
All this leads me to think that a few things are at play here. The most important is that with the costs of touring productions on this scale soaring, and the truth that the company is unfunded, purely commercial, there must be diminishing returns and certainly no money left for new sets and costumes. Hats off to her for keeping going, but maybe a rethink of the staging is due, ditch the sets, work on an open stage with fewer props and better lighting. Only my own thoughts, I am sure many will still wish for those traditional sets but for me, with the onstage talent that she brings, the experience could be so much better.
But now I move on to that talent. Last night we were treated to some fine soloists. Elena Dee’s Mimi is a delicate portrayal, tinged with sadness and well acted. The voice is good if at times the diction lacking in clarity.
Viktoriia Melnyk’s Musetta is a sexy vixen, cheeky, saucy and everything you want to highlight the stark contrast between her life and Mimi’s.
Some of the casting is dependent on a company in repertoire and as a consequence some of the artists in that garret are a little too old and one even wearing out of period spectacles, that said his solo moment in the final scene was very impressive.
Painter Marcello on this occasion was beautifully sung and played by Eurie Gisca, a fluidity to his voice and acting brought the role to life, a fine performance. And he looked the part too.
Hovhannes Andreasyan is an Excellent Rodolfo, the highlight of the evening in both acting and singing. His powerful voice able to soar then dip to a pitch perfect and trembling whisper. This is a man using a wide ranging talent to bring the character convincingly to life.
Did I cry? In that final moment there was certainly a tear in my eye, exactly what I want from La Boheme. My only wish would be that a funding body, or someone with money to spend, might recognise what Ellen Kent does and offer some of the support clearly needed to move this company forward for future generations.
Andrew Kay
Theatre Royal Brighton
21 March
Rating:
