| An iconic heartbreaking story |
Welsh National Opera |
| Welsh National Opera- La Boheme , Wales Millennium Centre , October 2, 2006 |
Amanda Roocroft, currently playing the leading role in Janácek's Jenufa with the English National Opera suggests that opera is elitist. She may have a point. The WNO continually introduces many exciting projects to bring opera to an ever-widening audience. If there was ever an opera designed to break down all the barriers, La Bohème and particularly this dazzling production is the one to do it.The Act 2 setting is a gorgeous Christmas Card, with a snow-covered floor where you can almost hear it crackling under the feet of the revellers and a clear cold, snow-filled sky over the heads of the playful young children and the toy-seller, the marching band and the congenial customers drinking and dining at the Café Momus. That same opalescent sky pierces the skylight of the bleak attic room where our four Bohèmian ruffians live with their frustrated ambitions to become 'great' artists. We are greeted by the 'great' painter, Marcello sung by Jason Howard, the first of the large Welsh contingent that makes up much of this cast. He is in great voice and creates a warm, carefree figure as he cynically reminds his 'great' poet friend, Rodolfo of his cold-hearted former love, Musetta. To keep themselves warm Rodolfo has to throw the play he is writing into the fire. They are soon joined by 'great' philosopher Colline, David Soar and 'great' musician Schaunar, Owen Webb both well on form completing a harmonious and virile quartet well able to convey the Puccini magic. One of the joys of Puccini's genius is his music for ensemble singing. In both the Bohemian's quartets and the duets between Rodolfo and Mimi, wonderful though the individual voices are they seem to reach even greater heights of beauty and emotion when they come together. Rebecca Evans is a charming and captivating Mimi, with a crystal-clear soprano voice that maybe, at times, a bit too strong for her afflicted physical state but when she sings with the superb Gwyn Hughes Jones, we hear some sublime moments of vocal perfection. She does give a sincere and, when she returns from her dalliance with her viscount, a spirited performance underlining the irony of her death that is to follow very quickly. All the time Puccini's music, sumptuously sweeping over us. Gwyn Hughes Jones makes a commanding yet sensitive Rodolfo with a soaring tenor voice that puts him high in the international league. He and Rebecca Evans quickly establish a very real and moving relationship. With Jason Howard's deliciously flamboyant Marcello they bind the quartet of young bohemian hippies together in both the good and in the sad times. Charlotte Ellett sings Musetta delightfully but lacks the charisma to bring this dashing courtesan fully to life. As a result the contrast between our two heroines in not as marked as it should have been. A small weakness in a production by G_ran Järvefelt that endeavours and mostly succeeds in perfecting every detail and along with conductor Michal Klauza giving us the full greatness of Puccini's wonderful and seductive music. Whilst each setting in itself was great to look at, I do wonder whether it is opera as a whole or a WNO eccentricity that the audience is left remaining seated as the sets are changed. So many shows today, particularly in Musical Theatre we see one setting evolve smoothly and seamlessly into the next. Michael Yeargan's design could I'm sure have lent itself to this technique, thus improving the continuity of the narrative. But in no way did this undermine the thrill of the music and the compelling nature of this iconic heartbreaking story. |
Reviewed by: Michael Kelligan |
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