Perhaps, you might say, that is as it should be;
there is certainly an element of taste in such matters. However, it seems to me
that a highly creditable desire to explore the darker elements — and they are
hardly difficult to find! — in Puccini’s opera is somewhat undone by
moments closer to farce. The greyness of an imagined Paris inspired by
Cartier-Bresson works very well, Isabella Bywater’s designs in themselves a
great visual strength, waiting to be relieved by brief, or at least relatively
brief, moments of colour. CafÈ Momus makes a particular impression in that
respect. However, I could not help but wonder whether some of the things —
entrances, concealment, and so on — one sees going on around the sets would
be better left unseen. Elements of ‘surprise’ — yes, many of us know the
opera all too well, but that is a different matter — are lost, without the
‘workings’ adding anything genuinely new. Still, it is a relief not to have
anything too sugary; the last thing Puccini of all composers needs is
sentimentalising. Doubtless I have been spoilt by seeing Stefan Herheim’s
urgently compelling version on DVD: the only staging of this work that has
really revealed anything at all to me. Recommended to Puccini-lovers and
—sceptics alike, indeed to anyone who believes that opera can and should be
something more than a tired museum piece.
A few more serious drawbacks prevented the evening from having had the
impact it might have done. Amanda Holden’s translation started off poorly
and, if anything, got worse. It managed both to be vaguely ‘after’ the
libretto and dreadfully anti-musical. Italian suffers worse than most languages
by translation into English, but the task can be accomplished much better than
this. This was a version only for those who might think there is something
‘edgy’ about people randomly singing the word ‘bastards’. But then,
perhaps a selfish — or hard-of-hearing? — audience happy to applaud
throughout, and indeed before the orchestra had stopped playing at the ends of
acts was genuinely enthralled or even shocked by such banalities. Moreover,
Gianluca MarcianÚ’s charmless conducting helped nothing or no one. The first
act in particular seemed devoid of life. I struggled in vain to hear anything
throughout the evening that would vindicate Puccini’s symphonic ambition.
Instead, phrases followed one after another, quite unconnected. The ENO
Orchestra, on generally excellent form, both pointed and luscious where
permitted, deserved far better.
So too did the cast: probably the principal reason to catch this revival.
There was a good sense of ensemble between the singers, which will doubtless
only increase as the run progresses. Individually, there is much to admire too.
David Butt Philip really presented Rodolfo as a credible character, not a mere
opportunity to sing. The conflicts within his soul, cowardice and
self-absorption vying with a genuine if ‘poetic’ aspiration towards
something nobler, came across with considerable subtlety. Angel Blue seemed
slightly stilted to start with, but quickly grew into the role of MimÏ. Her
vocal allure is by now reasonably well known; it did not disappoint. However, a
little more attention at times to words and their implications would have
deepened the impression. If George von Bergen was somewhat stiff as Marcello,
the other students impressed; Barnaby Rea’s Colline and the Schaunard of
George Humphreys helped to create a proper sense of milieu and preoccupation
from which Rodolfo could emerge. Jennifer Holloway’s Musetta very much looked
the part, but the top of her range proved uncomfortably strident, even squally.
Andrew Shore, however, proved luxury casting as BenoÓt and Alcindoro, vivid
portrayals them both.
Mark Berry
Cast and production information:
Marcello: George van Bergen; Rodolfo: David Butt Philip; Colline:
Barnaby Rea; Schaunard: George Humphreys; BenoÓt, Alcindoro: Andrew Shore;
MimÏ: Angel Blue; Parpignol: Philip Daggett; Musetta: Jennifer Holloway;
Policeman: Paul Sheehan; Foreman: Andrew Tinkler. Jonathan Miller (director);
Natascha Metherell (revival director); Isabella Bywater (designs); Jean Kalman,
Kevin Sleep (lighting). Chorus (chorus master: Genevieve Ellis) and Orchestra
of the English National Opera/ Gianluca MarcianÚ (conductor). Coliseum,
London, Wednesday 29 October 2014.
image=http://www.operatoday.com/8760.png
image_description=
product=yes
product_title=Giacomo Puccini: La bohËme
product_by=A review by Mark Berry
product_id=