In his production from the Komische Oper Berlin, Barrie Kosky's stark, spare interpretation of the La bohème legend gave it a rare spark of humanity focused on Marina Costa-Jackson's haunting Mimì, whose existence became the central focus even when she wasn't singing, and who wound up being bathed in a silver light of spirituality.
From the moment she poked her head up above the trap-door in the bohemian garret, Costa-Jackson stole the audience's heart. Dressed in simple outfits that made her look like a child in grown-up's clothing, with a wide-eyed innocence that told you from her first appearance she was going to break hearts, it was as if Mimì herself were coming through the expressive simplicity of her singing, the impulsive warmth of her personality, and her coy ways and chemistry with her nice-guy Rodolfo (Saimir Pirgu). Erica Petrocelli's Musetta was similarly authentic; once her voice warmed up for her "Waltz", which then went like gangbusters, she was magnetically endearing like a daffy silent film star – the kind with a heart of gold.
The men were an impressive lot, initially adorable in their man cave lodgings, engaging in the usual self-consciously choreographed horseplay. Pirgu's Rodolfo always had a sense this was a dream and may have been a touch remote, but his singing was ardent and sublime. Kihun Yoon's Marcello was the young cast's anchor, with real beauty of voice and easy command. Nicholas Brownlee's Colline and Michael J. Hawk's Schaunard handled their good-natured characterizations with lots of energy and substance.