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La Bohème – review

This article is more than 11 years old
Royal Opera House, London

John Copley's production of Puccini's La Bohème dates from 1974 and has survived the test of time exceptionally well.

For a while, it was deemed retro, even old-fashioned. But in an era of routine updatings and fierce directorial glosses, its muted, painstaking reconstruction of 19th-century Paris seems almost radical.

As on many previous occasions, Copley has returned to rework his staging round a new cast, and although its vision of urban poverty might now seem a bit sedate, the psychological and emotional detail remains striking and, at times, painfully true. This revival marks the 50th anniversary of his directorial debut at Covent Garden: at the end of the performance, he was presented with a cake, and spoke with contented wit about how much he had enjoyed his "wicked life" in the theatre.

The performance, meanwhile, is strong, though Semyon Bychkov's conducting may divide opinion. He's good on nuance and detail, and on glowing orchestral sonorities. But you're also conscious of a mannered way with speeds that intrudes upon the music's natural flow. The arias often have the slow, grave beauty of symphonic adagios. Elsewhere, however, things feel rushed, the Parpignol scene above all.

The cast is excellent. Rodolpho and Mimì are played by Joseph Calleja and Carmen Giannattasio. Calleja is glorious throughout. Giannattasio is better at passion than frailty, though I much prefer her in Puccini to her more familiar bel canto roles. Fabio Capitanucci, meanwhile, is the handsome, appealing Marcello, opposite Nuccia Focile's beautifully characterised Musetta. There's a nicely uppity Schaunard from Thomas Oliemans, and a sweet, funny Colline from Matthew Rose. Recommended.

Read our review of 2008's revival

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