Synopsis

Sonya Yoncheva (Mimi),  Charles Castronovo (Rodolfo), Andrzej Filonczyk (Marcello); Simona Mihai (Musetta); Gyula Nagy (Schaunard); Peter Kellner (Colline); Jeremy White (Benoît); Eddie Wade (Alcindoro); Andrew Macnair (Parpignol)

Critics Views

“This was, in fact, Sonya Yoncheva’s finest assumption of a role so far at Covent Garden that I personally have experienced; she inhabited Mimì from the very first phrase, the character’s vulnerability immediately apparent. Vocally there were only very rare moments when her voice lost its confidence. She was matched by a splendid Rodolfo in Charles Castronovo, ardent, strong and utterly believable.”  Colin Clarke Seen and Heard

“There are Puccini operas that some of us might not miss never seeing again. But La Bohème is incontrovertibly not one of them. One takes a seat for La Bohème with happy anticipation. When Puccini duly captures you with his brilliantly written and constructed score, those expectations are rarely disappointed – and certainly not in this Covent Garden revival. Richard Jones’s production, which made its debut in 2017, has several virtues. These bohemians really do shiver in a spare and freezing garret under a Parisian sky from which the snow falls before a note has been sung. Stewart Laing’s sets push the principals to the front of the stage so that big vocal moments ring out”  The Telegraph

“This second revival of Richard Jones’s production is ably directed by Julia Burbach, employing a light touch that brings out the humour of Jones’s work. It opens in the freezing attic home of the titular bohemians. The set is stripped back and bare, the lighting stark. It draws you in immediately.The singing here is superb. Charles Castronovo as Rodolfo is particularly strong. Sonya Yoncheva as his lover Mimì seems less assured at the start but soon finds her voice. Her acting remains convincing throughout. This is very much an opera of contrasts and for Act II, Stewart Laing’s set smoothly transitions from stripped down to opulent, as the action moves to the streets of Paris and the wonderful Café Momus. In direct opposition, too, are the demure Mimì and lively, vivacious Musetta, performed by Aida Garifullina in fine voice. She’s playful and flirtatious and a joy to watch. Yoncheva really comes into her own in Act III; her vocal chords have seemingly warmed up and she commands the stage. Her singing is exceptionally powerful and moving. Dying and abandoned by love, her Mimì here is a far cry from the carefree girl of the first half. The final act provides a fine balance between humour and tragedy and is touchingly performed.This is a largely faithful version of Puccini’s classic, with a light touch and a sprinkling of humour among the tragedy.”  Rebecca Armstrong (Opera For All)

Film Rating

Stockbridge Audience Rating TBC

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