Opera is associated with formality and expensive venues. But a new breed of producer wants to change all thatby Michael Coveney / June 22, 2011 / Leave a comment
Published in July 2011 issue of Prospect Magazine
Bohemian rhapsody: OperaUpClose’s award-winning La bohème
Something is afoot in the world of opera. The Glyndebourne season opened on 21st May with a full-strength production of Wagner’s six-hour Die Meistersinger von Nürnberg. On the same night there was an updated, informal, two-hour east London version of Puccini’s La bohème in the back room of a scuzzy pub in Islington, performed by just eight singers and a pianist.
The contrast in theatre as a social event could not have been more marked. At Glyndebourne, dozens of dinner-suited captains of industry lugged picnic hampers across the lawns en route to a dessert of holy German high art. In Islington, the mix of locals, students and budget-conscious theatregoers in the King’s Head could have been extras in the show, which is about impoverished artists anyway.
This melding of performers and punters was perfectly expressed in the production, by the small company OperaUpClose. The second act of La bohème, when Musetta trades insults with her on-off boyfriend Marcello and an older admirer, takes place in a café. In this instance, the audience were in the bar of the King’s Head for what had been deemed an interval. Suddenly, the barmaid started singing, then a couple of the customers; the rest of the performers were dotted through the old Victorian room. Passers-by looked in with amusement and surprise. The act unravelled thrillingly before we retreated once more to the shabby interior for the rest of the opera.