LA BOHÈME, which established Puccini’s international reputation in 1896, is one of the most popular operas ever written. It remains the definitive statement on friendship, love, poverty, consumption and death among the artists in Paris’s Latin Quarter.
The libretto is based on Henri Murger’s autobiographical novel, Scenes de La Vie de Bohème, first published in 1848 and dealing with his own youthful artistic struggles, which had taken place some twenty years earlier. Murger and Puccini sanitised the Bohemian life, making it more acceptable for a sentimental public.
It is difficult not to be moved. The effortlessly lyrical score is one of the great tearjerkers of all time and I sometimes feel I could go on listening to the Act 3 duet for ever.
Jonathan Miller’s intimate and muted production for ENO, initially seen in 2010, is a bit on the staid side for those who were brought up on John Copley’s production, designed by Julia Trevelyan Oman, at the Royal Opera House. The story has been updated from the 1830s to the 1930s. Isabella Bywater’s designs are inspired by Brassaï’s photographs.
David Junghoon Kim is Rodolfo, the penniless writer, and Sinead Campbell Wallace is Mimi, the seamstress, he falls in love with. Charles Rice is Marcello, the artist, and Louise Alder is Musetta, the coquette with a heart of gold with whom he has a tempestuous relationship. Charles Rice has the most charisma.
“I lived for art,” said Puccini. “I lived for love.” His soaring, rapturous score is irresistible. Ben Glassberg conducts.
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