The English National Opera’s revival of La bohème, which opens the season at the London Coliseum is a resounding success. Puccini’s timeless opera is reimagined in a production that feels both familiar and strikingly fresh. Director Jonathan Miller’s iconic 1930s Parisian setting remains intact, yet it’s the nuanced performances and the depth of the emotional landscape that truly stand out.
At the heart of La bohème lies the tragedy of love and loss, themes that are powerfully evoked by the production’s leads. Tenor Joshua Blue as Rodolfo and soprano Nadine Benjamin as Mimì delivered deeply affecting performances. Blue’s Rodolfo was imbued with passion and vulnerability, his voice scaling effortlessly from delicate lyricism to the robust crescendos of the opera’s climactic moments. Nadine Benjamin, meanwhile, offered a portrayal of Mimì that felt palpably real, less fragile than most heroines but a heart-breaking presence which infused every scene with emotional weight.
The chemistry between Blue and Benjamin felt modern and fresh and allowed for an exploration of their characters’ love story in a way that was both intimate and true to life. Their Act I duet, “O soave fanciulla,” was filled with tenderness that makes the inevitable tragedy all the more devastating.
Supporting performances were equally strong, with Charles Rice (Marcello) bringing a rich baritone and an almost irreverent energy to his scenes. Vuvu Mpofu as Musetta was a scene-stealer, her bright, soaring soprano and flirtatious stage presence perfectly capturing the essence of her character, particularly in her famous waltz, “Quando me’n vo’.” Mpofu cleverly balances comic acting and good-natured practicality. She is more of a girl-next-door than a strutting femme fatale waving her knickers. Alcindoro (Andrew Tinkler) is a delightful foil playing the aged lover with just the right measure of doting idiocy.
The acid test for Dingle Yandell (Colline) is whether he can sing the sad lament to his soon-to-be-sold overcoat (the proceeds of which he wants to pay for a doctor and medicine for the dying Mimi) with plausible and paced gravitas. This requires both masterful control by the conductor and a depth of feeling and sincerity on the part of the singer. The spontaneous audience applause indicated that Dingle Yandell got this just right.
Conductor, Clelia Cafiero, got off to an over enthusiastic start with the orchestra on occasion drowning out the singers in Act I. The conducting in successive acts became more measured, balancing the sweeping romanticism of Puccini’s score with a sensitivity that allowed the quieter, more introspective moments to shine. The orchestra’s performance was lush and vibrant, particularly in the interwoven string melodies that so poignantly underscored the final act’s heart-wrenching conclusion.
Isabella Bywater’s 1930s aesthetic lent the ENO La bohème production a sense of melancholy nostalgia, featuring cold, grey streets and a cramped, junk filled artist studio that underscored the bohemians’ poverty. The visual palette, muted but evocative, emphasized the themes of isolation and fleeting joy. This grounding in realism makes the more poetic moments, such as Rodolfo and Mimì’s burgeoning love, stand out in stark contrast to the gritty backdrop of their lives.
Puccini was oft reviled for producing cheap, sentimental operas with a mass market appeal. Yet no opera has become more politically, psychologically and socially relevant to our age than La bohème. My slight disappointment that the ENO commenced its 2024/2025 season with yet another revival of La bohème abated when I witnessed the manner in which Crispin Lord has masterfully updated the direction to make it an almost polemical modern social treatise. We could be in Hackney – young artists, philosophers, writers and painters using their native wit to survive in dingy rented accommodation while being exploited by unscrupulous landlords. Gone are the spartan bleak living conditions, starving waifs, endless references to “bonnets” and the implausible line dancing of previous productions. Our bohemians have flesh and guts.
If you are new to opera you may enjoy our blog post on visiting opera for the first time.
Crispin Lord and Clelia Cafiero have produced an opera with a cinematic pace and energy that speaks directly to the heart, reminding us why La bohème remains a cornerstone of the operatic repertoire.
The ENO’s La bohème is a beautifully rendered production, and though it’s steeped in the pain of its tragic ending, it’s also a celebration of fleeting joy and the human capacity to love. This revival is a testament to the enduring power of Puccini’s masterpiece, brought to life with exceptional artistry at the London Coliseum.
La bohème opens on Thursday 26 September for 9 performances Sep 26, Oct 3,10,15,17 at 19.00. Oct 5, 12 at 18.00. Sep 28, Oct 19 at 14.30.
Opera tickets for ENO La bohème can be purchased here.
Under 21s can get free opera tickets to all ENO performances at every level of the theatre, and 21-35 year olds can get discounted opera tickets. Tickets for everyone begin at £10.
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