Monday, October 19, 2015

ENO's new La bohème: a bit too boho?

This is my review for The Independent of the new La bohème at English National Opera. Not the finest hour, perhaps, but a couple of very good performances therein... 


Corinne Winters as Mimi. Let's face it, you'd pay a fortune for a pad like this in Shoreditch...
Photo: Tristram Kenton

As opera lacks the luxury of previews, seemingly undercooked first nights aren’t as unusual as one might like. This staging of the perennial Puccini favourite by Benedict Andrews – a co-production with Dutch National Opera and new to ENO – is just the latest. Updated to somewhere vaguely near the present, it contains beautiful moments: plate-glass windows admit a golden sunset while Mimi breathes her last (set design by Johannes Schütz). Problem: you'd pay an arm and a leg for a pad like that in cool places like Shoreditch today, probably even without electricity...

But too often this production feels like a postmodern magpie collection of bohemian tropes: sparkly dresses, fake furs, Rodolfo’s typewriter, Marcello’s ballet skirt (sic), apparently emanating from a timeless Bohemia of the soul. More seriously, if Mimi and Rodolfo spend their Act I arias injecting heroin, yet this proves a dramatic dead-end, believability fades.

With the orchestra, conducted by Xian Zhang, in need of better ensemble and more pizzazz, the evening required redemption. It arrived in several very fine performances. Corinne Winters as Mimi offered bright, pure, unshakeable singing and a touchingly genuine character; Duncan Rock as Marcello bowled out charisma and vocal strength; and Simon Butteriss’s vignettes as both an estuary-style landlord Benoit and Musetta’s sugar-daddy Alcindoro were fabulous. 

Zach Borichevsky’s Rodolfo sounded warm but vocally patchy and Rhian Lois’s Musetta seemed comfortable only in the vamping-free final act.