🔗 Share this article Puccini's Masterpiece – A Dark Interpretation of the Timeless Work Abandoning traditional formalwear and hamper lunches in favor of affordable tickets and relaxed elegance, Glyndebourne's fall season began with Floris Visser's sophisticated production of La Bohème. Seamlessly restaged by Rachael Hewer, this staging not only impresses visually but also does justice to Puccini's classic weepy while discovering novel ways to raise goosebumps. Evocative Visuals and Atmosphere Dieuweke van Reij's set – a symbolic highway to heaven – functions for all each acts, paying homage to Brassaï's shadowy photographs of historic Paris. Exposed brickwork and glistening cobblestones are stunningly lit by Alex Brok, while Jon Morrell's monochrome costumes ooze high fashion. Visser's artists inhabit a sort of twilight zone, a realm of fogs, police, and prostitutes, where the ghost of Death prowls the streets with the consumptive Mimì clearly in his sights. An eerily effective device, portrayed with perfect calm by Christopher Lemmings. Whenever Aida Pascu's haunted seamstress enters, Death is there, a pallid man in black, sitting and staring. Rodolfo intuits him, perhaps, but Mimì more and more sees and dreads him. He pops up as the toy-maker Parpignol, this time grasping an ominous cluster of crimson balloons. When the couple declare they will not separate until the flowers reappear in the spring, he pulls aside a canvas to reveal them already flowering. Mimì's final, tormented cry of “Come here, my love” is spoken not to Rodolfo but to Death himself. Detailed and Visually Alluring Stage Pictures Visser paints precise and visually appealing tableaux. His likable students participate in spirited roughhousing that for once is tightly crafted and clear to watch. The street scene crackles with energy; Café Momus does a fine line in humorous serving staff; corrupt policemen turn more than a blind eye to the activities of the local prostitutes. Excellent Performance Quality In the pit, artistic quality are high. Adam Hickox, son of the late Richard Hickox, has obviously received the conducting gene, providing an sharp interpretation of Puccini's music that's keenly attentive. A palpable, well-judged elasticity intensifies the emotional stakes without ever turning overly sentimental. The Glyndebourne Sinfonia reacts enthusiastically, as do the energetic Glyndebourne Chorus and the youthful voices of the young artists. Standout Acting Pascu's pitiable Mimì is a delicate creation, wan, nervous, and desperately fragile. Her soprano has just the right degree of mid-register creaminess, although high pitches could use a little more strength. Andrés Agudelo's Rodolfo doesn't always ignite. His voice flourishes and fades, sometimes within the same phrase, and he's inclined to resort to stock operatic gestures. Aksel Daveyan's vocal swagger enlivens his otherwise reserved Marcello, making him an excellent counterpart for Camilla Harris's confident, spirited, and ever-so chic Musetta. Markus Suihkonen excels as Colline, his performance culminating in a touching Coat Aria, with Darwin Prakash a firm-toned, puckish Schaunard and Darren Jeffery delivering delicious brief appearances as Benoît and Alcindoro. At Glyndebourne, until 2 November.