It was generally believed in France in the middle of the nineteenth century and probably for some time before that that Bohemia (now part of the Czech Republic) was the home of gypsies, people living outside the bounds of conventional society. ‘Bohemians’ - marginalised and impoverished artists began to congregate in the low-rent, gypsy neighbourhoods of Paris.
We meet our four ‘Bohemians’ in the opening scene of the opera, shivering in their derelict attic. A very convincing design by American, international award-winning designer Michael Yeargan, not unalike the original design when the opera was first produced at the Teatro Regio in Turin on February 1, 1896. There is no doubt that they are impeccably down and out and the freezing cold Marcello and Rodolfo find it all extraordinarily frustrating. Marcello takes it out on his paintbrush and Rodolfo struggles to complete his play. In an attempt to improve the temperature they throw the drama into the stove. Jason Howard and Gwyn Hughes Jones set the opera off in fine style and bring a glowing freshness to this most popular and well known opera. At times ably assisted by conductor, Andrew Greenwood’s interpretation of Puccini’s dramatic music they get things going with a delightful touch of tongue-in cheek-melodrama.
Down beat again as Colline, the philosopher comes home, cold and complaining that the Pawnbrokers’ shops are not open on Christmas Eve. Things pick up again as Musician, Schaunard arrives with his day’s earnings, wood for the fire, food, cigars and wine. All four fall onto these goodies with relish. David Soar and David Stout, Howard and Hughes Jones are all very clearly great friends and in their quartets sing with gusto.
We don’t have to wait very long for some of Puccini’s most poignant and beautiful music. Rebecca Evans so delicate and sensitive Mimi stumbles into the boys’ attic from a neighbouring garret. Rodolfo takes her freezing hands, she tells him about herself, these two excellently rendered arias are consummated by the act 1 final duet where Evans and Hughes Jones join with great tenderness, begin their short life together and bring the scene to an exquisitely moving end.
As well as superb singing Rebecca Evans always gives very fine acting performances, this seems to be infectious in this performance because as well as mastering the music everyone in the production gives fine captivating acting performances, something not always seen on the opera stage.
After one more robust scene, where we are treated to the additional winsome soprano of Victoria Joyce’s Mussetta, we reach the inevitable sad ending of the story. The way in which the other three share Rodolfo’s despair is notable and this rewarding performance ends with his agonising cry.
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