Eileen Caiger Gray reviews LA BOHEME English Touring Opera Sheffield Lyceum
As ‘bohemian’ poet Rodolfo progresses from shy, starry-eyed romantic into distraught, grief-stricken lover, David Butt Philip’s passionate, soaring tenor brings that thrilling frisson of sublime beauty one always hopes for. Terrific! Indeed, the blend of voices in this Italian version of La Boheme brings delight all round, while the orchestra, under the baton of Michael Roswell is equally outstanding.
For her sympathetic portrayal of the frailty of Mimi and for her clean, lyrical singing, Russian soprano Ilona Domnich also earns extended applause. Notching up the chemistry and emotional interaction of Mimi and Rodolfo would add further impact still.
Florence de Mare’s set, streamlined, sparse, simple, evokes well the bitter cold of winter and the harshness of poverty. A versatile angled wall of dull, murky mirror serves as the gloomy garret’s windows to be rubbed at and stared through, then reconfigured and written upon at the Café Momus. Another interesting innovation is the tall, transparent column, serving as a flue wherein flutter the bits of manuscript, torn up in a desperate quest for warmth, while in the second, darker half, the tube is symbolically filled with skulls. The solid cubes used as seats are reminiscent of tea chests, while 1840’s Paris is more closely evoked by the presence of a hot-air balloon basket, sand sacks slung over its side, reflecting, too, the youthful world of high-flying dreams and lofty aspirations.
Costumes are of the period, flame-haired Sky Ingram’s coquettish Musetta sporting some glorious outfits. Her performance is pretty glorious too. With commanding, vibrant presence and clear, highly pleasing soprano, she brings conviction to both comedic, playful interactions with wealthy old Alcindoro (nicely played by Andrew Glover) and to her tempestuous on-off relationship with Marcello (Grant Doyle). The chemistry between her and sturdy baritone Doyle works well, as does that between the group of male flatmates in the garret.
The bustle of the market concentrates around Papa Guignol’s imposing puppet show, which also gives budding primary school performers a chance to sing out (- then, possibly, to appear somewhat startled and overwhelmed by the occasion!) The integration of the handsome puppets into the story adds a nice touch, although having the Café Momus presented as a long, linear bar perhaps works less well.
In his cameo as Landlord Benoit, tenor Adam Player puts in a pleasing performance while Rodolfo’s other flatmates – dapper musician and parrot-poisoner, Schaunard (Njabulo Madlala), and burly, coat-sacrificing baritone, Colline (Andrew Stiff) – bring a warm camaraderie to the mix. At the denouement, Schaunard’s cough and his bloodstained handkerchief aptly emphasise how tragedy and death are always just round the corner, and that the dreams, hopes, ideals and the sweetness of love and youth they earlier enjoyed are doomed to be short-lived.
With good balance and contrast between merriment and despair, and superb singing, this is a compelling performance all round.
Eileen Caiger Gray
ETO’s three alternating productions are touring 84 venues in all, with most still to come. As translations may be screened to the side of the stage, careful choice of seats should ensure these can be easily read without distraction.
