Emily Warner considers how Ellen Ken's La Bohème brings opera to the general public.
Image Credit: Courtesy of Ellen Kent
Opera International's award-winning Ellen Kent Production takes on Puccini’s classical masterpiece, La Bohème (performed by Ukrainian Opera & Ballet Theatre Kyiv); the result is a colourful performance that delicately treads the line between comedy and tragedy.
The plot centres around a band of struggling artists, including the poet, Rodolfo (Sorin Lupu), the painter, Marcello (Olexandr Forkushak), the musician, Schaunard (Vitalii Cebotari), and the philosopher, Colline (Valeriu Cojocaru). Set in 19th-century Paris, the themes and encounters are delightfully contemporary for a modern audience. Skirmishes with the landlord, love stories, and glasses of wine are all masterfully executed quirks of the performance, which any viewer might relate to. In particular, the shivering and jumper-layering of the first act is strangely familiar; during the current cost of living crisis, I think we are all accustomed to turning the heating down and wearing scarves inside. At the beginning, we are introduced to Mimi (Alyona Kistenyova). The rest of the plot witnesses the unfolding of her doomed romance with Rodolfo. It wouldn’t be an opera without a liberal sprinkling of tragedy and the anticipated but heartbreaking conclusion doesn’t disappoint.
The eclectic outfits of the group look as if they were found in a charity shop sale bin, or by rifling through lost property. The patchwork of woollen jumpers, paint-splattered aprons and long coats reflect the Bohemian art of the period. As a result, an entertaining, comedic note underlies each of their encounters, enriching this ‘doomed romance’ with some well-intentioned humour. This was complemented by a stunning stage set with exquisite attention to detail. The customary blue roofs of Paris tapered into the background, real billows of smoke emerged from the buildings, and convincing snow effects transformed the warm theatre into a frosty Parisian day (and gave the cleaners a headache once everyone went home). The use of costume, set and lighting intensified the vibrancy of the emotions on stage, supplementing the musical performances.
“Where are you going?” my flatmates asked me before the show. “To the opera.” “WHY are you going to the OPERA?” they responded with outrage.
Of course, many people have the same response to opera, with its associations of pretentiousness, elitism and boredom. However, with songs in Italian but subtitles in English, Ellen Kent brings Puccini to the general public of York and releases opera into the masses. There is so much musical talent and artistry to appreciate in opera; it would be a tragedy (no pun intended) to miss out on that, based on the vague assumptions of the Gen Z population. However, the captions were misleading at times. When multiple characters were singing it was unclear whose speech was being displayed. Despite this, the performance is accessible to both the hardened opera-goer and the newcomer in the crowd. The varied audience members were one of the joys of going.
Additionally, many of the romantic encounters were problematic. Duets such as ‘Grab my arm, little one (Rodolfo) – Yes sir, I obey (Mimi)’ precipitated a collective intake of breath from the enlightened, #MeToo-era audience. It is important to remember, however, that the libretto was written in 19th-century Italy, so dialogues like this are often present and should be watched with their context in mind.
The whole performance was a mammoth two and a half hours, but regular set changes and an intermission meant that the timeline of the opera sometimes felt rushed. A jarring leap from spring to winter seemed to condense Rodolfo and Mimi’s relationship into a two minute scene change, while her death stretched over a whole act, creating a slight incongruity. However, the convincing performances of Sorin Lupu and Alyona Kistenyova compensated for any disruptions in the flow of the plotline.
Overall, the performance contained some clumsy details that a harsh critic might choose to inflate. However, the warmth and diversity of the audience created an intimate atmosphere and within this space, the vivacity, playfulness and romance of Puccini’s classic radiated from the stage. I hope you think twice next time you find yourself rushing to criticise opera, because you might find that a surprising, delicate beauty resides there.
Editor’s Note: Ellen Kent's La Bohème was performed at York’s Grand Opera House on Friday 3rd February.
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