London Coliseum, 29 October 2014

Jonathan Miller’s fluidly naturalistic production of La boheme continues to be a fine showcase for young singers, focusing on individual characters within a convincingly drab 1930s Paris. The quartet at the heart of the story are extremely well balanced. David Butt Philip, making his debut at ENO as Rodolfo, proved to have the heroic top to the voice where it is called for but also the sensitivity and gaucheness in the earlier acts as his relationship with Mimi develops. Angel Blue is an unusual Mimi. Tall and elegant, her voice fills the theatre easily in the first act but she controls it magnificently in the final act to bring us one of the finest death scenes I can recall. She literally slips away as she sinks into the large armchair. It is totally convincing.

Jennifer Holloway’s Musetta is vibrant without going over the top, her waltz song in act two emerging naturally from the action rather than being a set-piece. This also allows us to focus on the jealousy of George von Bergen’s Marcello, whose strength grows as the evening progresses.

All of the smaller parts are cast from strength and it was a pity that the speed of the production did not allow us to applaud Barnaby Rea for the farewell to his coat.

The chorus may only come into their own in act two but they do so with real enthusiasm and frequent nuances which enhance the visual impact. It is telling that no matter how complex the action we always focus on the most important characters on stage without them being overtly highlighted. The same is true of act three which is re-thought in terms of a side street in early morning but all of the activity flows from the text and never crosses the emotional intensity of the score.

Gianluca Marciano seems to have a natural feeling for the pulse of the score and his tempi and balance within the pit were always convincing.

If there is any tendency to think oh, another revival of boheme then think again, for everything about the evening validates the decision to do so.