Irish Mimi’s debut in ‘La Bohème’ leaves not a dry eye at the Coliseum

Just over six years ago the English National Opera brought in a new, rather pretentious staging of La Bohème, in which the young “Bohemians” were druggies shooting up on a brightly lit stage. It flopped badly, so three years later they revived Jonathan Miller’s excellent production, set in 1930s Paris and now on its fifth revival.

Isabella Bywater’s excellent sets and Jean Kalman’s dark lighting recall a time when life hung by a more slender thread, candles lit up intimate surroundings, and warmth on a winter evening might be better found at a café rather than a cold attic apartment. As the components of the set revolve to take us from Act I to II, and from Act III to IV, we enjoy true operatic theatre, where the singers draw us into an emotional world enhanced by Puccini’s wonderful music under the sensitive baton of Ben Glassberg.

Heading the team of young singers was the Irish soprano Sinéad Campbell-Wallace as Mimi, making her ENO debut with powerful, lyrical singing. She was the highlight of the performance, unlike her beloved but unprepossessing Rodolfo (David Junghoon Kim), whose strong voice faded at times and lacked consistency.

The other “Bohemians” were a fine team, with the engaging Charles Rice singing a strongly sympathetic Marcello, and two ENO Harewood Artists making up the four impecunious young men: the New Zealand-born Samoan baritone Benson Wilson made a very solid Schaunard, and William Thomas sang a serious and generous bass as Colline. Luxury casting with Louise Alder as a pretty and expressive Musetta, and Gilbert and Sullivan expert Simon Buttriss a delight as her elderly beau Alcindoro and as Benoit the landlord in Act I, his casual estuary accent fitting both roles to a tee.

Jonathan Miller’s production is a charm in itself and the ENO should continue reviving it with different casts. I love the use of orchestra members in the marching band of Act II, and the chorus, actors and children provided just the right atmosphere in the Café Momus scene. There are all sorts of clever details, such as the casual prostitution in Act III juxtaposed with the passion and emotional yearnings of the young lovers, and the duet between Mimi and Marcello in that act was the highlight of the performance.

This is not to downplay Mimi’s heartbreaking performance in Act IV, when the friends leave her and Rodolfo alone, and she sings of having so many things to say, but just one, as deep as the ocean. Ms Campbell-Wallace was consistently the star of the performance and her voice suggests a rich soprano who will later take on heavier roles.

English National Opera now seems to be fulfilling its true and unique role in displaying home-grown talent in sensible and engaging productions, rather than seeking to produce avant-garde stagings that do more for the director than the audience. Long may that continue.

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