Olga Kulchynska as Mimì in La bohème | Photo: Mihaela Bodlovic
The snow falls in 1830s Paris and, in Richard Jones’s 2017 production of Puccini’s iconic tragic romantic opera, its presence throughout adds a charm and festive element to the drama. But it’s no hopeful Christmas story, imbued with an ensuing tragedy and, ultimately, Mimì’s untimely death by tuberculosis.
The set is both traditional and dystopian in equal measure, with bright Dickensian costumes and an Alice-in Wonderland effect to Act 2 slightly blurring the lines. It’s a charming visual feast and brings with it many beautiful escapist elements to a Christmas Bohème opera trip – from the Bohemian jovial opening chorus in the sparse attic room to the bustling town centre’s bars and restaurants.
But it was the cast and conductor who defined this production. Incoming Principal Guest Conductor of the Royal Opera Sperenza Scappucci held a tight operation in the pit, in spite of some initially scrappier intonation from the upper strings. On stage, the vulnerable communication of seamstress Mimì’s character was masterfully displayed by Olga Kulchynska. Her poet lover Rodolfo was bouncy Samoan tenor Pene Pati, whose voice is wonderfully unique. Not effortless, but holding something of a growing allure and dexterity.
The cast of La bohème | Photo: Mihaela Bodlovic
Pati’s real-life wife, Amina Edris played the electric Musetta in her Royal Opera debut. The Egyptian-New Zealand soprano has a distinct, almost mezzo quality to her tone which opened up exponentially in ‘Quando m’en vo’ – the famous ‘Musetta’s Waltz’. Her Act 2 shenanigans were fantastically backed-up by Mikhail Timoshenko as the gullible Marcello.
Other notable singers included the powerful bass of Aleksei Kulagin as bohemian Colline and the charismatic Jolyon Loy as boyband leader Schaunard. The chorus moments in Act 2 felt swallowed on occasion with the sheer visual chaos causing the sound to lose some focus.
The impactful lighting design (Mimi Jordan Sherin), coupled with perpetual snowfall, subtly brought fun, lightness and tenderness when required. The spectacle of the moving sets and rotating stage was compelling, with especially powerful moments coming at the end of Act 3, with Mimì and Rodolfo walking away together in intimate, almost hopeful lighting, vowing only to part when the Spring comes.
As Mimì’s fate becomes apparent, the breaking down of ego, and revealing of Musetta’s human side, was tenderly done and the enclosure of the attic room brought forth authentically conflicting emotions. It was here that Pati displayed his greatest work, holding and shaking his dead Mimì in disbelief. Kulchynska’s stage presence stayed true to Puccini’s mild character, her vocal prowess extending throughout the four acts.
Of course, it’s the score of La bohème that holds the true magic. Casts can lift this limited story to a magical realm and this cast certainly wasn’t far from that reality.
Until 17 January. rbo.org
