To commemorate the centenary of Puccini’s death, the English National Opera opens its season with a revival of Jonathan Miller’s acclaimed 2009 staging of *La bohème*, under the guidance of Revival Director Crispin Lord. Featuring a rotating cutaway set created by Miller’s long-time collaborator Isabella Bywater, this production artfully contrasts an artist’s attic above with a bohemian bar below, beautifully reflecting the spirit of inter-war Paris through a palette of soft, muted hues. The subtle tones are brought to life by enchanting lighting, carefully managed in this revival by Marc Rosette, showcasing the warm glow of attic lamps, the striking blush of dawn in Act 3, and the welcoming light streaming through windowpanes as snow falls outside.
The vibrancy of this gritty yet colorful Paris is truly brought to life by its lively inhabitants. The impoverished artists are depicted as a charming ensemble, engaging in lighthearted skirmishes with baguettes and radiating infectious energy. Charles Rice reprises his role as Marcello from the 2021/22 season, delivering a rich baritone performance that adds depth to the character. Dingle Yandell, making his ENO debut as Colline, provided a performance that was both clear and resonant, especially poignant during the moment he prepares to part with his beloved overcoat.
British-American tenor Joshua Blue, also debuting with ENO in the role of Rodolfo, infused his performance with passion and sincerity, particularly shining in the emotional exchanges of Act III with Mimì, portrayed by Nadine Benjamin MBE. Benjamin, a celebrated soprano and former Harewood Artist, returns to ENO after her acclaimed performance as The Mother in Tinuke Craig’s Olivier Award-nominated *Blue* (2023). As Mimì, she combined clarity with emotional richness, delivering touching moments in Acts III and IV. Her soprano’s crystalline timbre resonated powerfully through the music as she and Rodolfo navigated their feelings, seeking dignity amidst emotional turmoil. South African soprano Vuvu Mpofu, also making her ENO debut as the whimsical Musetta, experienced a similar emotional arc: exuberantly drawing attention in Act II, her voice softening to a whisper in the poignant final moments.
In the orchestra pit, Italian conductor Clelia Cafiero made her ENO and UK opera debuts, drawing out a sumptuous warmth from the strings and shaping the woodwind solos with skill. Her keen sense of timing—masterfully molding Puccini’s phrases to highlight the nuances of tempo—contributed to an exceptionally captivating performance.
Image Source: English National Opera @ YouTube
