Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

OPERA TODAY ARCHIVES »

Reviews

Melody Moore (Mimì) and Alfie Boe (Rodolfo) [Photo: Tristram Kenton]
05 Mar 2009

La bohème — English National Opera

Jonathan Miller's new production of Puccini's wintry opera was denied its planned opening night on Monday 2nd February by a bout of unusually heavy snow which brought most of London's transport services to a halt and turned it into a virtual ghost town (thus, up the road at Covent Garden, the cancellation of a performance of Korngold's 'Die tote Stadt' was equally ironic).

G. Puccini: La bohème

Above: Melody Moore (Mimì) and Alfie Boe (Rodolfo)

All photos by Tristram Kenton courtesy of English National Opera

 

As a staging, it has all the hallmarks of a future classic of the ENO repertoire. Isabella Bywater’s naturalistic set is as easy on the eye as Amanda Holden’s fluid new translation is on the ear, while Jean Kalman’s lighting handsomely sets off the wide attic windows and silhouetted rooftops. Fast-forward a couple of seasons to an above-average revival; the rough edges of the staging will have been smoothed over, the perfect cast will be engaged, and everything will ‘click’. The previous production - which was less distinctive than this - was memorable thanks to a succession of lively and well-matched ensembles of soloists.

That, alas, was what this new production lacked. As Mimì, the sweet but pallid soprano of the American soprano Melody Moore lacked warmth and passion; Alfie Boe was a fine Rodolfo a few years ago at Glyndebourne, but that’s a much smaller house, and his is not a large voice - he was frequently swallowed up by the orchestral texture. But a much greater problem was their credibility as a couple, with almost no chemistry between them. Admittedly the costumes were unhelpful: Moore has youth on her side, but a dowdy wig and unflattering dresses made her matronly and plain, not to mention improbably strong and healthy for a fragile heroine whose very identity is defined by a diminutive pet-name. In comparison to the small-framed Boe’s amiable and boyish Rodolfo, Moore’s Mimì seemed like a sensible elder sister.

La_Boheme_024.gifHanan Alattar (Musetta) Alfie Boe (Rodolfo)

Musetta, Hanan Alattar, somehow failed to dominate Act 2, and her sharply focused soprano remained pert and hard-edged right up to the end, though her characterisation gained in warmth and was quite touching. Best among the soloists was the congenial, warm-voiced Roland Wood as Marcello, and Pauls Putninš’ distinctive bass brought considerable pathos to Colline.

The set - with buildings that revolve into various configurations to create the various locations - evokes a down-at-heel 1930s Paris. Appropriately, the garret scenes take place on an upper level, which caused a few acoustic issues from where I was sitting in the Stalls. The cast were sometimes overwhelmed by the orchestra, particularly in the fast-moving banter of Act 1. It wasn’t until Act 3, when the soloists are at ground level and not lost in the ensemble, that the vocal projection was really satisfactory. The split level creates a dramatic issue too, with the staircase up to the Bohemians’ doorway forming the focal point of the set: none of the entrances are a surprise, from Benoit’s in Act 1 to Musetta’s in Act 4. The sole purpose of its central placement seems to be to throw focus on Schaunard (David Stout) towards the end as he leaves Rodolfo and Mimì alone.

La_Boheme_014.gifAlfie Boe (Rodolfo), Melody Moore (Mimì), David Stout (Schaunard), Pauls Putnins (Colline), Roland Wood (Marcello)

In his house debut, conductor Miguel Harth-Bedoya gave a musically competent, lucid reading, but it was short on warmth and there was little sense of connection between pit and stage.

I mustn’t ignore the positives: Simon Butteriss’s sleazy Benoit was a highly entertaining cameo, and Act 3 was really well-staged, with well-directed cameos from members of the chorus and (finally) some believable emotional interplay between the two couples. But at the end of the evening, though I found myself sorry for Mimì’s death, I was quite indifferent to Rodolfo’s loss. If only I could have believed they were ever in love.

Ruth Elleson © 2009

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):