In honor of the centennial of Puccini’s passing, the English National Opera kicks off its season by reviving Jonathan Miller’s legendary 2009 production of *La bohème*, with Crispin Lord as Revival Director. The rotating cutaway set, designed by Miller’s frequent collaborator Isabella Bywater, presents a fascinating juxtaposition of an artist’s attic above and a bohemian bar below, capturing the essence of inter-war Paris in a variety of muted tones. This drab palette is beautifully enhanced by exquisite lighting, supervised in this revival by Marc Rosette: the soft glow of pendant lamps in the garret, the stark blush of dawn in Act 3, and the inviting light spilling from windowpanes while snow gently falls outside.
What truly animates this vivid, albeit gritty Paris is the lively antics of its residents. The destitute artists are portrayed as an endearing group, engaging in playful battles with baguettes and exhibiting a contagious liveliness. Charles Rice returns to embody Marcello, reprising his role from the 2021/22 season, his rich baritone lending depth to the sympathetic character. Dingle Yandell, making his debut with ENO as Colline, offered a clear and radiant performance, particularly poignant as he prepared to part with his cherished overcoat.
Internationally recognized British-American tenor Joshua Blue, also debuting with ENO in the role of Rodolfo, delivered a passionate and sincere performance, capturing the emotional essence of his Act III moments with Mimì, played by Nadine Benjamin MBE. Benjamin, an award-winning soprano and former Harewood Artist, returns to ENO following her acclaimed role as The Mother in Tinuke Craig’s Olivier Award-nominated production of *Blue* (2023). As Mimì, she exhibited both clarity and emotional depth, particularly moving in Acts III and IV. Her soprano’s crystalline quality pierced through the score as she and Rodolfo grappled with their feelings, ultimately striving for dignity in the emotional climax. South African soprano Vuvu Mpofu, making her ENO debut as the capricious Musetta, traversed a similar emotional journey: exuberantly attention-seeking in Act II, her voice waning to a whisper in the final moments.
In the orchestra pit, Italian conductor Clelia Cafiero made her ENO and UK opera debut, coaxing sumptuous warmth from the strings and giving shape to the woodwind solos with finesse. Her discerning sense of timing—where Puccini’s phrases were expertly molded to display the nuances of tempo—crafted an exceptionally engaging performance.
Image Source: English National Opera @ YouTube
