La Bohème

At first glance, it is difficult to see why this production was filmed. Sky Arts bills it as John Copley's 2009 production of La Boheme but it is quite clearly a revival of his production which, incredibly, dates from the 1970s. I remember seeing the previous film of this production which was made in 1982 and starred Ileana Cotrubas. In fact, I think it is the first filmed opera that I ever saw and it is largely responsible for turning me on to the entire genre. It is not even as if the production is being revived as a star vehicle. Hibla Gerzmava may be hot in Abkhazia and Teodor Ilincai may be big in Romania but they are hardly household names.

However, having seen it, I am glad that it was filmed because it really is very good. John Copley effectively choreographs all the intricate bits of stage business that are so important to this opera. The ensemble scenes are particularly effective, foreshadowing Puccini's marshalling of much larger ensembles in La Fanciulla and Gianni Schicchi. Puccini's ideas here are quite groundbreaking, for instance when Mimi sings over Musetta's big number or where the big Act III love duet is interrupted by Marcello and Musetta arguing. Gerzmava and Ilincai are more than adequate as Mimi and Rodolfo. Gerzmava has a sweet, smallish voice which is not particularly a disadvantage in a filmed production. Ilincai lacks a bit of gravitas but he is most effective in that Act III duet "Addio, senza rancor. Best of the rest is Gabriele Viviani's endearing Marcello.

Although I have seen a dozen other Bohemes since seeing that 1982 version of this production, I thoroughly enjoyed this film and thought it was two hours well spent. Anyone watching La Boheme for the first time would be well served by this production.

When it comes to DVD productions of La Boheme this John Copley production is not my personal favourite(both of Freni's productions, Scotto/Pavarotti, Gheorghiu/Vargas and Cotrubas/Shicoff are personally preferred). All the Bohemes available on DVD are well worth watching, Zurich's was the only one that didn't work for personal tastes. And John Copley's Royal Opera House production certainly is well worth watching. Some of Act 2 looked a touch cramped, not uncommon for the staging of this act, and Rodolfo did seem immature at times. But when it comes to flaws those were pretty much it. While this is a revival from 30 plus years ago, it certainly doesn't feel like it which goes to show how much was put into making things fresh while keeping traditional. The costumes and sets are sumptuous and you do feel the cold of the garret setting. Puccini's music is some of the most beautiful he ever wrote and in the whole world of opera and you can tell by the commitment of all involved that they seem to think so. The score is played with lyrical elegance and beautiful tone by the orchestra, the shimmering strings deserving of a mention. The chorus don't have a huge role apart from a fair bit in Act 2 and three or four phrases at the start of Act 3 but they do make the most of their music, coming across as involved and with good balance, there didn't seem to be any signs of competition or diva behaviour.

Andris Nelssons' conducting is fine and supple, he really brings out the needed poetry of the music yet doesn't wallow too much in it to make the momentum sag. The stage direction is very intelligently done with no distasteful touches. Character relationships are solid and convincing with Mimi and Rodolfo's being tender and Marcello and Musetta's suitably witty, though other productions have done it a touch more interestingly. Act 2 is incredibly endearing, the starts of the first and last acts with the Bohemians really entertain and the final scene and O Soave Fanciulla truly touching. The ending is one of the most poignant in opera(most poignant going to Poulenc's Dialogues Des Carmelites in my opinion) and I did feel the emotion here. The performances are uniformly good. Teodor Ilincai is not the best of actors and Rodolfo's cries of grief have been more powerful elsewhere(not that Ilincai did a bad job, he didn't) but he does have a very nice voice and is very youthful and ardent. Inna Dukach is delightful as Musetta, charming, seductive and funny yet very heartfelt and humble in the last act. Colline and Schaunard are sung and acted excellently, and it was a pleasure seeing Donald Maxwell's characterful Alcindoro, a character seen briefly. The best were Gabriele Viviani and Hilva Gerzmava. Viviani sings robustly and his Marcello is still powerful yet very likable, more in his friendship with Rodolfo(one of the opera's and production's most endearing assets) than in his chemistry- which still entertains- with Musetta. And Gerzmava, blessed with a beautiful expressive voice and a youthful and affecting stage presence is a truly moving Mimi, not the most interesting of roles- Musetta's character is meatier in a way- but when a production allows you to feel Mimi's tragedy and also care for it it's done its job well. In conclusion, not the best Boheme, still a very well done production. 9/10 Bethany Cox