Undernourished: English National Opera’s Bohème revival lacks red meat

Short on cash, but full of spirit. The situation in which Puccini’s cheery quartet of artistic strivers find themselves in La bohème could equally describe English National Opera’s own position as it opens its 2024–25 season with Puccini’s timeless romance. 

The late Sir Jonathan Miller’s 2009 production remains strikingly appealing – Miller’s value to the company will be seen in other revivals throughout the season – and is confidently handled by revival director Crispin Lord. It’s an old-fashioned staging, in many respects, but feels as warm and familiar as Colline’s coat. The detail of the sets, the delicacy of the lighting and the focus on character (both principals and extras) bring out the emotional truths of the piece: love, both romantic and brotherly, and what it is to struggle to survive with an empty wallet and still keep smiling. In a world of food banks and high energy costs, it packs an even bigger punch. Those who pontificate on the relevance of opera to everyday lives should look no further.

Alas, the poised direction did not conceal flaws in the music-making, particularly in the first half, which hindered this revival from really taking off. Nadine Benjamin’s confident soprano gave a cleanly sung Mimì, diction mostly clear and top notes solid; she brought out the vulnerability of the seamstress – no coquettishness here – and there was a touching gentleness in so much of her movement. There was little frisson, though, with her Rodolfo, Joshua Blue, in Act 1; no sense of chemistry or the first spark of a great romance. The dynamic between them was stronger in the second half with anger, fear and grief rippling across. 

Blue’s performance itself, similarly was patchy. He has an affable stage presence and blended in seamlessly as ‘one of the boys’, but his voice is small and was under-projected, struggling to cut across the orchestra and got lost in the Coliseum. Words were at times inaudible; both “Che gelida manina” and his contribution to “O soave fanciulla” were underwhelming. He seemed to gain confidence and his Act 4 performance had some emotional heft.

Vuvu Mpofu’s sedate Musetta was a less fiery take on the character than is sometimes seen; what she sacrificed in comedy she gained in realism. Charles Rice’s easy baritone, coolly phrased, made for a stoic and measured Marcello, again veering away from the caricature of desperate lover, though flashes made it through. Particularly impressive was Dingle Yandell, his fruity bass-baritone and dash of debonair danger making the most of Colline. 

Patrick Alexander Keefe gave a commendably sung Schaunard, completing the quartet, while Paul Sheehan’s Benoît gave a fine impression of George Roper. In the pit, Clelia Cafiero conducted a sumptuous reading of the score, but failed to synchronise her orchestra with the singers. A mixed revival, then, but one that shows that Miller’s production still has plenty of wood to burn, even if there’s none in the Parisian garret.