LA BOHEME
© Glyndebourne Productions Ltd. Photography by Marc Brenner.
I’m often asked what would be the best introduction to opera and without fail I always say La Boheme. I say Puccini’s masterpiece because it works on so many levels. Firstly because the music is not only beautiful but because it is approachable. Secondly because the story is equally accessible and finally because those two elements combined are really moving.
And when I see a production of La Boheme I want just that, to be moved, even though I have seen it many many times. I like it un-messed with and of course beautifully played and sung. There’s seldom any doubt that you will get those two elements short of sublime at Glyndebourne of course where in the summer festival we hear international stars and in the autumn the opportunity to hear some emerging talents.
This revival I first saw at the premier a few years back and loved it except for one element which back then irritated me, the sinister presence, unscripted in the original, of a dark and ominous harbinger of doom, death himself haunting Mimi through out. It seemed then an unnecessary conceit and a little patronising. It’s clear from the start that here story is tragic, even if you are coming to the work for the first time. And similarly the reveal of placards embellished with skulls feels a little crass and unnecessary, although visually it has impact.
© Glyndebourne Productions Ltd. Photography by Marc Brenner.
Amazingly this time I found it less irksome, and I know why. From her very first entrance and breath Aida Pascu embodied the role with such believable fragility, a dramatic triumph of a performance that was doubled in impact by the power and clarity of her voice. Familiarity with the opera means that I seldom look at the supertitles, and in particular on this occasion as I wanted to absorb every phrase, every note that she sang. It was a five star performance in her own right and one that I will remember for years to come.
© Glyndebourne Productions Ltd. Photography by Marc Brenner.
Rodolfo was equally impressive with similar clarity he brought the role of her flawed lover to life, embracing the passion, jealousy and despair with skill. Andrés Agudelo brought a youthful charm to the role as did Markus Suihkonen and Darwin Prakash to Colline and Schaunard. Their playful antics worked so well and brought levity to the whole. Aksel Daveyan was exceptional as Marcello, the artist, and his more demanding role gave him opportunity showcase a very fine voice and equally fine dramatic skill.
© Glyndebourne Productions Ltd. Photography by Marc Brenner.
And it is the ability to act and not only to sing that made Camilla Harris as Musetta so very special in this production. The soaring voice in the cafe as she taunts and flirts, vibrant and exciting and then later when she is filled with compassion for her dying friend, the voice then taking on a delicacy and sensitivity.
© Glyndebourne Productions Ltd. Photography by Marc Brenner.
As always the Glyndebourne Chorus and members of the Glyndebourne Youth Opera delivered with their usual skill and Adam Hickox conducted the Glyndebourne Sinfonia in a ravishing delivery of Puccini’s delicious score.
The simple staging, a bleak and minimalistic representation of a Parisian street scene by designer Dieuweke van Reij and monochrome costumes by Jon Morrell might initially have seemed rather spartan, but as the story unfolds both elements seem absolutely right and the whole is stunningly lit by Alex Brok.
My misgivings first time around were swept away this time, a delightful production that would I am sure be the ideal way for anyone to discover the joys of opera.
Andrew Kay
11 October
Glyndebourne
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