This revival of Phyllida Lloyd’s classic 1993 Opera North production is directed by James Hurley who refreshes the appeal of ‘The Bohemians’ for first time audiences and seasoned regulars alike.
The heart rending love story of the seamstress Mimi and poet Rodolfo feels just as vital to today’s audiences. Added to these crucial elements, what is arguably Puccini’s greatest dramatic score performed by a world class orchestra of seventy musicians in the pit and sixty singers on stage.
Lloyd’s legendary production is set in the 1950s – the decade of those enduring idols of the silver screen, Marilyn Monroe and James Dean. Anthony Ward’s picture frame setting has a recurring back drop of the faces and pouting red lips of two young lovers: Images redolent of a Hollywood film poster from that golden era. The Bohemians dilapidated and freezing room in the Latin Quarter of Paris is sparsely furnished with a wood burning stove, battered leather armchair, Marcello’s gleaming motorcycle and a thin mattress on which Mimi will tragically succumb to her tuberculosis.
Act II at the Café Momus on Christmas Eve is a feast of festive joy: Fast, vibrant and crowded with revellers, street artists, shoppers, sailors, dancing nuns, and a marching band.
Florida born tenor Anthony Ciaramitaro as Rodolfo, has a rich Italianate timbre with clarion high notes and the power to cut through Puccini’s big tuttis; “Che gelida manina” was beautifully phrased with a climatic, sustained, ringing high C. The chemistry between Ciaramitaro’s Rodolfo and American soprano Olivia Boen as Mimi is palpable. Boen has a lovely creamy quality, the tone is steady, and her high notes beautifully floated in “Si, mi chiamano Mimi”. Mimi’s Act lll farewell “Donde lieta usci” was tender and poignant; her death scene deeply moving.
Ukrainian baritone Yuriy Yurchuk, as the volatile Marcello, sang with elegance and ignited the flames of jealousy in his Act lll bust-up with Elin Pritchard’s skittish, heart-of-gold Musetta. The four voices deliciously blended in their sublime Quartet. South Korean bass, Han Kim, subtly coloured Colline’s melancholy Act lV ‘Coat Aria’ while Seán Boylan created a sympathetic cross-dressing Schaunard.
Garry Walker conducts the Chorus & Orchestra of Opera North and ON Children’s Chorus with an unerring sense of pace. Instrumental textures are luminous and dynamic shading is superbly controlled – from the softest pianissimos to devastating double fortes.
Performances at Leeds Grand until Saturday 1st November and then touring to Newcastle, Salford and Nottingham.