It is chillingly understated, and gorgeously lit by Alex Brok in this resolutely non-realist production. Visual and cinematic references are impactful and elegant dramaturg Klaus Bertisch and Visser have really done their homework. A Chilling & Dark Parisĭieuweke Van Reij’s’ set is simply a cobbled road, curving down into abyssal darkness a pile of corrugated iron chairs and a few tables are the only furniture for Came Momus in Act two it is inspired by the photographs of Brassaï’s Paris in the 1920s particularly the streets around the Barriere d’Enfer and the catacombs, as if to underline the opera’s mortal trajectory. It is Glyndebourne’s first new production in 20 years. The most adventurous productions in recent years have probably belonged to Calixto Bieito, who frames it as a kind of terrible grief-dream in the hospital where Mimì succumbs to cancer, and Claus Guth’s controversial but visionary Tarkovsky-inspired setting of it…on the moon.įloris Visser’s new production of this classic at Glyndebourne Festival Opera this year hardly goes as far, but proves itself one of the most striking takes on the piece in years, brilliantly designed and staged with breathtaking imagination and focus.
Richard Jones’ recent version at Covent Garden has been doggedly revived though tends towards the emotionally chilly and has brought few new ideas to the work.
(Audiences tend to resist them too.) The two most successful in London recently have been John Copley’s recently retired version at the Royal Opera House – a spectacular heritage production to the letter – and Jonathan Miller’s down the road at English National Opera, which relocates the action to the 1930s but still cleaves to an immaculately rendered realism. “La bohème”, as the archetypal verismo opera, tends to resist stagings that take it much beyond the confines of nineteenth-century Paris, and indeed non-naturalistic approaches to the work.
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