Giacosa & Illica, Puccini Clonter Opera Clonter Opera Theatre 20 July 2018 to 28 July 2018
Clonter Opera does an amazing job each year putting on a complete production of a mainstream repertoire opera, in its own theatre, with young singers who are at the threshold of their professional careers. Its track record bespeaks its skill at talent spotting and the value of its away-from-the-hothouse environment in building skills for future star performers.
This year’s La Boheme is no exception to its form. In many ways it’s one of the best productions it has done. The set strikes you as soon as you sit down – Grace Venning’s design of a garret for the starving artistic young men of the title may be largely a collection of junk, but it’s striking and evocative.
And there’s a concept behind the junk, too. Director Harry Fehr presents the story as Rodolfo, the main protagonist, returning to the attic in which those great formative experiences of his youth took place. So he enters the stage before the music starts, looking around and remembering. Everything seems to happen within his memories, and at the end the other characters slip away backwards through the doorways, like wraiths at the rising of the sun.
I could quibble about minor incongruities (Rodolfo has to be middle-aged throughout the story, as he can’t rejuvenate instantly to fit the imagined flip back in time; the attic is full of chairs which enable it to convert into the Café Momus for the middle acts, but you wonder at first whether, if the lads were so short of fuel for the winter, they didn’t just burn them), but it’s a cinematic way of telling the story, and you have to suspend disbelief as you see it on stage.
The stark and bare third and fourth acts work brilliantly: in fact the last was one of the best acted endings to La Boheme I’ve ever seen. Movement and placings are well worked out, and at the same time we see young people facing, all unprepared, the reality of death and its ending of their dreams.
There was perhaps a little nervousness in Act One which detracted from a sense of young love’s first joys as the richly famous music was sung (and very well sung), and in a setting with no extras and limited space there’s not much scope for the Christmassy merriment of Act Two, but no doubt later performances will allow for compensation here.
But with Clonter it’s always the voices that are the thing, and here they have struck gold again. Estonian soprano Mirjam Mesak (Mimì) is surely a singing actress with a great future, and she effortlessly shone out over the biggest vocal ensembles and accompanimental textures. Russian Alexey Gusev (Marcello) is a natural actor as well as a very good baritone, and Lebanon-born Bechara Moufarrej (Rodolfo) has a refined, mature and flexible tenor. Connor Baiano (Colline) and Jolyon Loy (Schaunard) will have much to give in future, too, and Pedro Ometto (Benoit and Alcindoro) has a comic gift in the making. And Erika Baikoff gave us a Musetta with attitude, not so much a hardened cynic as a youngster blending aggression and naivety (very convincingly), and singing beautifully.
The Clonter Sinfonia, led by Liz Rossi, played the reduced orchestration with fire and affection, and Clive Timms conducted with his accustomed sure hand and dramatic skill. He has been music director for Clonter for the last several years and its achievements under his care have been exceptional.