16 hours Ago By Operawire Staff
Puccini’s most beloved masterpiece is a feast at any time of the year, but as a Christmas treat, promises to deliver many gifts. Alas, like ALL gifts, some are more desirable than others; some special, some expected and some unwanted. As is the case with this fifth revival of Richard Jones ’s classic 2017 production, where some presents are more appealing than others.
One might argue it’s nigh on impossible to go wrong with Puccini’s score, and Italian conductor and principal guest conductor to be at the Royal Opera and Ballet for the 2025-26 season, Speranza Scappucci does an admirable job at coaxing beauty from the orchestra of the Royal Opera house. I especially loved the several, elongated pauses she interposed at various stages of the performance which served to intensify the emotion of the relevant piece. Production Details However, not so admirable, for me at least, and one for the gift-return list, is Stewart Laing ’s set designs.
The “garret,” serving as the four Bohemian principals’ home in Acts one and four, looks like a partly completed DIY kit from IKEA, an ill thought out loft conversion of pentagonal, skeletal wooden beams, harshly and confusingly lit by a glaring white lighting that our poverty stricken heroes couldn’t possibly have afforded to run. It makes a mockery of the romantic candle lighting scene where Rodolfo and Mimi meet, and where the former sings of the moonlit face of the latter in the keynote duet “O soave fanciulla” duet. To be fair, the second act redeems itself visually, employing a triple set of mobile capsules depicting Parisian shopping scenes that rotate away to reveal Café Momus.
Somewhat bizarrely, the curtain remains up throughout the entire performance, enabling the audience to clearly see the stagehands and backstage crews maneuvering the sets during the intervals of each act, a lengthy process conducted in silence, which totally detracts from any semblance of narrative one may wish to form. Further gifts, destined to be cast to the bottom drawer or infrequently used cupboards must definitely include the crude, often puerile antics of the bohemian boys, presumably under the guidance of Jones’s direction, that of an unnamed revival director, (previously British actor and choreographer Danielle Urbas , although no mention of her appears in this production), or that of movement director Sarah Fahie . The licentious hip thrusting and gyrating of some of the principal characters, together with the lewd, unfathomable purpose of frantically drawing sketches of naked women’s anatomy on the walls of the garret in Act four is childishly lascivious enough; but the way Marcello and Musetta reconcile and reignite their relationship in the second act is unconscionable; simulating near coitus and graphic sex acts.
I’m categorically no prude and I understand and welcome graphic and virtually obscene content to enhance certain stagings, but I found this to be completely unpalatable and inappropriate, all the more so considering that many young members of the children’s chorus were present on the stage at the time. Cast Highlights Gifts to enjoy included Samoan-born tenor Pene Pati , debuting here as Rodolfo. He possesses a light, lyric tenor instrument which is pleasing to the ear, but lacking in body in the upper register, with the top notes noticeably thin at times.
He does have remarkable breath control, and it appeared to my ear that he sung the entire opening sequence of his final act duet, “O Mimì, tu più non torni. O giorni belli, piccole mani, odorosi capelli” on a single breath. Likewise, in his keynote aria, “Che Gelida Manina,” conductor Scappucci allowed him to hold on to the final notes of “La Speranza” for an inordinate length of time.
Not a large voice, but one which managed to permeate across the orchestra, nonetheless. His portrayal of the role veered on the buffoonish at times, but this also served to hugely impact and heighten the emotion of his sense of loss in the final act. His Mimì, performed here by Ukrainian soprano Olga Kulchynska , was the victor in the overall vocal stakes.
She turned in a solid performance; a most endearing “Mi chiamano Mimì” and an accomplished “Addio...
D’onde lieta usci.” She cut a suitably frail figure and embodied all the qualities of the vulnerable, ill-stricken seamstress. She sang with a sweet, expressive tone without employing pianissimo or sotto-voce, keeping an even line throughout.
Her performance in the final act was hugely emotive, and probably the highlight of the whole show. Russian baritone Mikhail Timoshenko as artist Marcello, was animated and occasionally clownish in his portrayal. His comedic interpretations often resorted to slapstick.
His interactions with Mimì in the third act were thoroughly engaging and emotive and his final act duet with Rodolfo was meaningful, however, producing some rich vocals and evoking genuine pathos. His on-off muse, Musetta, is played here by real-life wife of Pene Pati, Kiwi soprano Amina Edris . Inarguably the life and soul of Act two, she steps from table to table in Café Momus, infuriating her chaperone whilst goading the true object of her desires, Marcello.
She skillfully and daringly removed her silk underwear before depositing them on his head. Her perpetually flirtatious and promiscuous behaviour contrasts sharply and evocatively in the final act where she switches to “tart with a heart” who sings movingly about the virtues of Mimì. British baritone Jolyon Loy gets to perform a delightfully comical Schaunard who hams it up wonderfully whilst recounting his tale of how he acquired the spoils he shares with his fellow bohemians in Act one.
Russian bass Aleksei Kulagin gave a moving “Vecchia zimarra.” His Colline is the most pensive character of the bohemian quartet, and he sings the most famous of bass arias with warm, reflective tones. I have opined previously, regarding this production, of its shortcomings, its odd set and and its reliance on childish licentiousness.
My last review of this staging noted that despite those failings, it managed to produce some quite inspired, comical, original and most poignant touches that almost, but not quite, made up for the mindless and nonsensical rabid scribbling and drawing of obscene images on the walls by the four boys immediately prior to Mimì and Musetta joining them for the denouement in the final act. On this occasion, there were no such touches, and I couldn’t escape the feeling that this was a rushed out, end of year production. When it comes to gifts, it’s often noted that it’s the thought that counts.
However, I feel that when it comes to THIS particular revival, it needs a major rethink. Categories.
