Opera
Review
La
Bohème Hery Murger's tale of poverty, love, jealousy and artistic temperaments,
which formed the basis for Puccini's La Bohème, is one
that will be perennially relevant. It is as easy to imagine the action
taking place in present-day London (as in this new production by David
McVicar) as in 19th century Paris. Updating it convincingly might
therefore not seem to require any great skill. But Mr McVicar does
a great deal more than this: this Bohème is a real visual
feast - it is conceived on a large scale, yet impeccable planned to
the last detail; it makes good use of an enthusiastic and highly talented
young cast; and it is, above all, thoroughly artistic in every sense. Few productions can be as visually stunning as this one. But it is
not just eye-catching: every detail serves to draw the audience deeper
into the world of the Bohemians - a world of grotty flats, scarce
food, bustling streets and tantalizing restaurants. Michael Vale's
set has a key role to play in this. It is a magnificent creation -
not only does it revolve in strategic places to keep the action at
the optimum angle to the audience, but it also captures with wonderful
precision the various locations of the action. Indeed, in places this
precision is too great for comfort; for while the chrome, glass and
bustle of Momus's café off Oxford Street makes an exhilarating
spectacle, the squalor of the artists' garret leaves one wishing Mr
Vale had not been quite so painstaking in his attention to details
such as corrugated iron, decaying concrete and graffiti. Such attention to details is, however, what makes this production
such a pleasure to watch, and it is evident in many other aspects
as well: supernumerary actors, playing, amongst other things, goulish
onlookers in the block of flats and tramps, add a final veneer to
the atmosphere; and having the toy seller Parpignol led off by police
was an inspired touch. It is refreshing to see La Bohème performed by singers as young as the characters they play. Most of the cast make their Glyndebourne debut with this production, and all acquit themselves admirably, acting with real flair and injecting the piece with a delightful sense of youthful vigour. It is a shame that Louis Langrée did not make more allowances for the youth of the singers and keep the colossal power of the Glyndebourne Touring Opera Orchestra under a tighter reign. But this is a small flaw in what is a thoroughly uplifting production, bursting with vitality, ideas and beauty. Matthew Rogers, 29 / 11 / 00 |