In the auditorium, every other row is empty and there are empty seats between bubbles, so that the house is now less than half its capacity.
This is the first opera that the Royal Opera has staged since March last year requiring a very large orchestra and chorus, and it has gone to such lengths to protect their performers as much as its audience. But she would never have attended a performance quite like the Royal Opera’s current revival of this Richard Jones production, first seen in 2017. When I was a student, regulars in the Covent Garden ticket queue talked of one elderly lady who had sat in the same Upper Slips seat for every performance of La Bohème since the retirement in 1926 of the great Dame Nellie Melba.
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