REVIEW - Opera North's La bohème is full of freedom, fiery passion, and flawless performances!

On Wednesday, we were invited to Lowry, Salford to see La bohème. Read what our reviewer Karen Ryder had to say about this powerful opera...

The multi award-winning Opera North are back at Lowry with an enticing, powerful, and embracing plethora of productions, tonights being Puccini’s masterpiece La bohème.  A story fuelled on passion, rebellion and spirit, friendship, romance and of course heartache, it has not only stood the test of time for over a century, but continues to inspire modern creatives, with the hugely successful musical Rent drawing its inspiration from the opera.  Opera North have long believed that opera should be for everyone ensuring that it is as accessible as possible, truly making them an Opera Company for the 21^st Century.  With English subtitles allowing audiences to keep up with this Italian sung opera, popular culture references and modern costumes helping to guide intention, this is perfect for a fabulous and feisty first dive into the operatic world.  Marvel at the world class talent, absorb and quite literally feel the rush of sound that hits you from the outstanding orchestra, and embrace the emotion of it all, because it is a powerfully unique experience that everyone should have the opportunity to indulge in at least once.

La bohème is a vivacious, pulsating, and visceral story that follows a group of bohemians as they struggle to make ends meet but know how to love, live, and laugh.  As neighbours Rodolfo and Mimi meet, they seem to form an instant bond, and it leads to a passionate, entangled relationship that is so vast it often bursts itself open at the seams.  As Mimi is introduced to Rodolfo’s friends in the local café, Marcello spots his ex-partner Musetta with her newest conquest, the wealthy Alcindoro.  It is clear Musetta loves attention but as she too sees Marcello amongst the group of bohemians, she realises where she truly wishes to be and so she conjures up a plan to remove Alcindoro and fall into Marcello’s arms.  To rub further salt into the wound, when the bill comes for their meal, she charges it to Alcindoro!  As time passes and Mimi’s health deteriorates, Rodolfo tries pushing her away through outbursts of jealousy, in the hope that her living in better conditions than he can afford to offer her, will improve her health.  But Mimi overhears this confession from Rodolfo and though they are deeply in love, they agree to separate when Spring comes.  In contrast we see Marcello and Musetta also separate but under very different circumstances.  Here, the jealousy is entirely real and as emotions escalate into a physical argument, things end bitterly.  As Spring appears, Rodolfo and Mimi separate as agreed and Rodolfo thinks his plan has worked when Marcello brings news of Mimi’s courtship with a wealthy Viscount.  However, Musetta brings different news.  She has found Mimi wandering around the apartment corridors desperately ill and brings her back to Rodolfo.  Each of the friends desperately sells their only belongings to try and get medicine for Mimi as she and Rodolfo declare their dying love for each other one last time.

Directed by the incredible Phyllida Lloyd and revival director James Hurley, La bohème is stunningly human, with the raw fragility of life nestled right up alongside its free-spirited defiance.  Set in the 1950’s, and framed by the exquisite set design of Anthony Ward, you are plunged headfirst into an authentically bohemian world brimming with personality, and the irony that such artistic freedom can bring such financial limitations in life.  The opera opens in the paint splattered, chaotic existence of the friends apartment, with cushions for beds, an old armchair bleeding its foam interior, canvases propped up against an old stove, and the symbol of rebellion parked up in the form of a motorbike.  There is no mistaking the individualistic freedom, love, and art of bohemians and despite it being a home of little material offering, it feels familiar, warm, and inviting.  As the group of friends make their way to the café, a landscape booth engulfs the stage representing a 1950’s diner, which quite wonderfully rotates to allow the illusion of space inside and outside the café.  This design is so clever, providing ample room for the large choral work, yet precisely marking where each scene takes place.  The movement also added to the vibrancy of their city, making it feel alive and full of possibility.  Later, we are given a different vantage point of the café, with the use of screens to place us on the street firmly outside, with only windowed opportunity to witness the action within.  This cleverly focused our attention to the developments happening between our two couples.  Equally, the costumes (also by Andrew Ward) both placed the story in the 1950’s whilst equally reflecting each characters personality with intricate detail, such as the paint splattered jeans of Marcello.  Lighting design by Rick Fisher and revival lighting by Richard Moore captured this bohemian world superbly.  In particular, Act 1 where Mimi needs a candle, is all about the lighting.  The different shades, colours, and ambiences created from the multiple sources of light in such a short time are breath taking.  You are taken on a mini light show as we transcend from electric light, to candlelight, firelight, ember light, moonlight, and no light, casting glorious soft, seductive shadows across our romanced couple.    

Under the bohemian baton of Garry Walker, the Opera North Orchestra were as glorious as ever, teasing every breath out of Puccini’s emotive score, entwining the melodies, arias, duets and chorus with our own beating hearts.  Their rich sound echoed around the theatre, providing inspirational music for this phenomenal cast.  Anthony Ciaramitaro simply soared as Rodolfo, melting any tension you may have been carrying from the day, and pulling you into the moment with an aching beauty.  Together with Olivia Boen as Mimi, they formed a striking, believable, and hypnotic pairing, with Boen’s voice ringing out clear as crystal and with just as much beauty.  Yuriy Yurchuk as Marcello gave us a touch of earthiness, grit, and power as Marcello’s emotions often overpowered sense, making this a grounded, hunkered down performance that was sprinkled with a flavourful unpredictability.  This was also true for Elin Pritchard as Musetta, unafraid to fire back and be his equal.  Oozing with passion, seduction, and a fiery spirit, yet completely stripped back and vulnerable with an overwhelming kindness and tenderness at the end, this was a stunning watch.  Completing the bohemian friendship group were Han Kim as Colline and Seán Boylan as Schaunard who were both outstanding, with an additional magic being gifted to us when all four friends performed together.  The sound they created was so moving and their camaraderie, playful banter, and humour shone through, really solidifying this production as one that applauds the things in life we all have access to, yet often take for granted in the pursue of the grander things we desire.  The whole chorus and ensemble were captivating too, really breathing life, energy and frenzy into every moment.   
 

La bohème is full of freedom, fiery passion, and flawless performances, and is a fabulous first opera for anyone wanting to dip their toes into a new world.  In fact, it is also the perfect opera for your second, fifth, or hundred and fifth visit for it is rooted in humanity making it instantly accessible, and it definitely makes you feel all the feels.  You really are transported into the world of these bohemians and this production makes you want to stay there, nestled in, transfixed as you are bathed in a glorious art form. La bohème will leave you besotted with bohemians and full of hope, love, and a reminder of the important things in life.  A must see.

WE SCORE LA BOHEME...



Opera North's La bohème is on at Lowry, Salford until Saturday 15th November 2025. 

You can also see Opera North's Susanna at Lowry on Friday 14th November.


Watch our "In Conversation with Claire Lees discussing Opera North's Susanna" video

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