La Boheme (Opera North – Tour – Salford)

In 1960’s Paris four Bohemians live a hand to mouth existence but enjoy finding ways to cheat their landlord of his rent. Their ‘Lost Boys’ lifestyle is forced to change when painter Marcello (Marcin Bronikowski) forms a tempestuous relationship with the apparently vain Musetta (Sarah Fox) and poet Rodolfo (Bulent Bezduz) falls for the empathic but ailing seamstress Mimi (Anne Sophie Duprels.)

Phyllida Lloyd’s direction brings clarity to Puccini’s La Bohéme. The simple idea of setting the production specifically at Christmas rather than just in winter adds to the atmosphere of hope leading to disappointment. It also explains the bitter cold suffered by the characters and justifies the use of a splendid Children’s Chorus.

The director is aided by Rick Fisher’s skilful lighting, which illuminates the lovers by subtle firelight or moonlight and highlights specific parts of the stage to allow quick changes of scene. This is particularly the case in Act Two when simply moving the counter in the Café Momus changes the scene from external to internal (and back) within seconds – with the lighting changing from chill to warm accordingly.

Anthony Ward‘s evocative set design reflects the period and place very well with the squalid artists’ studio resembling a painted canvas and glaring neon lights setting the 1960’s café culture atmosphere. Likewise, Fox makes Musetta a larger than life character so vivid that she commands her own individual spotlight and her interaction with the conflicted Marcello is a highlight.

Bezduz sings beautifully bringing depth to Rodolfo by using apparent indifference to shield himself from the pain of loss shown in his aching vocals. Duprels is an excellent soprano and she emphasises the tragic quality of Mimi who seems to know instinctively that she is not long for this world and so appreciates the beauty of each dawn, as she is unlikely to see the summer for which she longs. Her understanding brings maturity to the Bohemians and hope for the relationship between Marcello and Musetta.

Decay and declining health can rarely have sounded more beautiful than Puccini’s score. Although conductor Richard Farnes sets a muscular pace he does not ignore the lyrical side of the score. Even before she appears onstage Mimi’s delicate character is set by her moving theme and the use of harp and flute is especially effective.

Opera North’s production of La Bohéme is a life-affirming production showing that the best things in life- love and companionship – really are free.

– Dave Cunningham