La Bohème

First performed in 1896 in Turin, La Bohème was based on La Vie de Bohème by Henry Murger.

Originally set in the 1830s, this production has been reset to the 1990s, still in the Bohemian district of Paris.

The set is minimal, but used well. Three trucked framework structures move from scene to scene and form doors, windows or even beds. The show was thoughtfully directed by Eleanor Felton, not least of all in the use of the previously mentioned set pieces, the simplicity and starkness bringing the impoverishment of the leading cast members to the fore.

The poet, Rodolfo (Robert Forrest), excelled with his fine tenor voice and performed the role of Mimi’s lover with emotion and personal torment over her illness and eventual death in Act IV.

In the role of Mimi, Louise Martyn delighted with her beautiful singing voice, whilst her acting talents ensured that we readily saw and accepted the gradual decline in her health throughout the opera, until her final passing.

Together with Rodolfo, his friends, Marcello (Fraser Robinson), an aspiring artist, Schaunard (Luke Francis), a musician, and Colline (Alex Palco), a philosopher, make an excellent quartet, attempting to keep the cold (and the rent collector) at bay. Marcello quickly becomes re-infatuated with his ex lover Musetta (Rachel Munro) who makes a dramatic entrance on the arm of her aging toy-boy Alcindoro (Malcolm Crosby). Alcindoro is quickly despatched to pay the bill for all those in the café, leaving Musetta and Marcello to enjoy time together once again. Rachel Munro’s Musetta displays a whole gamut of emotions from mischievousness and feistiness to loving and caring. So often one praises the leading soprano, but, tonight, both Louise and Rachel deserve equal praise for the beautiful rendition of so many well-known arias. All in all, this is a wonderfully cast production, which Fife Opera should be rightfully proud of – as should each and every cast member!  Completing this superb cast are Benoit (George Nairne) and Parpignol (Katy Hardie) whose smaller principal roles added polish to this production. The Fife Opera chorus, although not frequently heard in this opera, acquitted themselves well, as did the quartet of children appearing in Act Two.

Musical Director Derek Clark, had a masterful grip on the overall production, conducting a nineteen piece orchestra who never failed to impress. Finally, congratulations must go to Director Eleanor Felton for successfully giving a subtly different take on this, arguably one of Giacomo Puccini’s best known and loved operas.

Many thanks, Fife Opera, for your invite to this production.

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