Director Ellen Kent gifted us with an upbeat, yet, tear-jerking take on the Puccini classic La Bohème at Manchester Opera House.
It was a passionate and charming performance by some of the most captivating contributors of today’s opera scene.
A bohemian quartet of male friends, characterised by their artistic professions, support one another through the hardships of poverty in 1830s Paris’ Latin Quarter.
Davit Sumbadze is Rodolfo – a poet with the spirit of a millionaire. When a damsel in distress knocks on his door, he tries to keep her around for as long as possible. Despite having major worries of her own, Elena Dee’s character, Mimi, is blissfully open to falling head over heels. The pair’s delivery of the famous love duet does not disappoint.
As the story progresses, we see Marcello, a painter, played by Iurie Gisca, reunite with his ex-lover, Musetta, played by Viktoriia Melnyk. Suddenly it’s all eyes on her! Melnyk’s stage presence somehow raises the show’s wow factor to even greater heights in terms of talent, vibrancy and boldness.
What’s worse than the thought of losing someone you love?
Kent uses a powerful combination of music, props, lighting and other special effects to explore timeless topics like love, fear, envy, and how deprivation can gravely impact one’s options in life. Similarly to many other masterful love tales, La Bohème ends with a tragedy that makes us mourn a sequel that never existed.
The orchestra, led by Ukranian conductor Vasyl Vasylenko, accomanies the flawless voices of the cast members perfectly. Also, the use of instruments to illustrate and decorate changes in mood, movement, and even the weather, is incredibly impressive.
The show’s subtitles were clear, well-positioned, and are paced steadily, so the storyline can be followed comfortably. This production was in town for one night only. But if the chance arises to see it again, you’ll want to savour every moment for a lifetime.
Feature image courtesy of Ellen Kent
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