Enchanting backdrop for a fun, accessible rendition of Puccini’s famed La bohème.
There are few better settings for an evening of opera than Waterperry House & Gardens. As part of the Waterperry Opera Festival’s two-week programme, La bohème makes particularly good use of its surroundings, with the beautiful Oxfordshire estate providing an atmospheric backdrop to Puccini’s much-loved tale of love, friendship and heartbreak. The festival’s extended interval also gives audiences the chance to picnic in the grounds, making this an accessible and relaxed way to spend an evening with opera.
La bohème is a fitting choice for a festival looking to welcome audiences into the world of opera. The familiar story of a group of bohemian artists, their relationships and their landlord remains an engaging one, and Ruth Knight’s direction places the action in a late-1930s Waterperry. It is an interesting choice, occasionally complemented by Jennifer Gregory’s costumes, although the party costumes in particular feel somewhat at odds with the period setting. The production hints at wartime Britain through references to rationing, but there is scope for the period to be explored more fully. A little more context around why these young men are working on a farm rather than away at war, for example, could have helped the setting feel more purposeful.
The cast brings plenty of talent to the production. Faryl Smith’s Mimì is particularly strong, while Ceferina Penny’s Musetta is arguably the standout, bringing real charisma, charm and emotional depth to the role. Her ability to communicate Musetta’s vulnerability beneath her confidence gives the character an affecting sense of humanity. Patrick Dow’s Marcello is another strong presence, capturing the charming rogue with ease, while Robert Forrest’s Rodolfo can be frustrating in his reluctance to commit and take responsibility — though that is hardly an unfamiliar quality in the character.
Owain Rowlands as Schaunard and Alaric Green as Colline round out the Bohemian group well, although their characters could benefit from a little more personality. This is particularly important in an opera where the words can sometimes be difficult to catch. When the text is not always immediately clear, the performers need to do some of the storytelling through their acting, and there are moments where a little more attention to the drama would have helped the story land more clearly.
Bertie Baigent’s conducting and the Waterperry Opera Festival Orchestra provide a confident musical foundation, bringing Puccini’s sweeping score to life while allowing the more intimate moments to breathe. Christopher Cowell’s new English translation works well overall, though the occasional clunky phrase stands out when it sits less naturally against Puccini’s music.
Ultimately, this is an enjoyable production in an exceptional setting. Waterperry’s combination of opera, gardens and the opportunity to picnic under the evening sky makes the festival feel welcoming rather than intimidating, particularly for those who may be less familiar with the form. With a little more polish to the character work and period detail, La bohème could have gone further, but it remains a lovely introduction to both Puccini and this increasingly appealing Oxfordshire festival.
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