Review: LA BOHEME*

Royal Opera

14th October 2008

La boheme, is always, one of the great delights, of the opera season, particularly, in the case, of the Royal Opera’s season, and, also, a very frequent one. Seldom, does a season flow through it’s run, without, a performance, of this magnificent, opus. This performance, even by the opera’s. own, highest standards, was truly magnificent. Julia Trevelyan Oman’s sets, even, after thirty-four, long years, of highly frequent performances, retains its aura, of the grandest, of romances. Of course, in truth, the set, has a certain, shabbiness, but, as it is supposed to be so, as Rodolfo, and his friends, would hardly, have the cleanest, and tidiest, of flats, one can, hardly, complain!

Dominic Best, revives, John Copley’s dynamic production, which is, here, sumptuously conducted, by Christian Badea. Hei-Lyung Hong, was to have sung, the role of Mimi, but she, sadly, withdrew, however, an adequate replacement, was easily found. In fact, the abilities, of Alexia Voulgaridou, are far greater, then mere adequacy. Her voice, is of the sweetest, warmth, and her character, so charmingly, unassuming, and her aria, of introduction, became, a real discovery, invested, throughout, with true meaning, rather than, simply, yet another recitation, of the famous notes.

Anna Leese, covered Musetta, in a recent production, but an ironic, foot injury (for those, that do not know the plot, Musetta, feigns, foot injury, in the course, of the opera, as a means, of ensuring, her new boyfriend’s speedy absence, in order to enable her, to ensnare, her former boyfriend), prevented, Nuccia Focile, from performing. Anna, therefore, earned, star plaudits, on the first night, and, additionally, and invitation, to sing the role, in a future revival, this one. She performed, with energy, and aplomb, and extreme, vocal beauty.

The men, were a highly amusing, quartet. Even Rodolfo, with his effervessant, romantic nature, joined his companions, in the impishness, of their pursuits. Wookyung Kim, nevertheless, knew also, how to be serious, when the role required it. His high C, sadly, was rather wobbly, but it was exceedingly, unrealistic, of Puccini, to demand such high notes, on the close, of so intense a scene.

Christopher Maltman, did not remove his shirt, but still looked, rather delicious. His comic gifts, come particularly to the fore, when there is no, naked flesh, to contemplate. Roderick Williams, enjoyed himself greatly, as Schaunard, Alexander Vinogradov, as Colline, attached significant importance to his coat, which truly became a character, in its own right! Alan Duffield, as Parpignol, reminded me, somewhat, of Barry, in his elderly, kindness, and Alcindoro, sung by not a bass, as Puccini intended, or by a tenor, as has become customary, at the Royal Opera House, but by a baritone, Adrian Clarke. Adrian, was no less amusing, than his higher and lower voiced predesessors.