It’s been 23 years since I last saw Puccini’s La Bohème performed live, but the memory of Mimi introducing herself to Rodolfo has lingered with me ever since. There’s something ghostly and tender in that moment – so intimate, it almost feels like the audience is eavesdropping. Seeing NZ Opera’s new production brings that same ache back to the surface, with a beautifully updated setting and a stunning cast.
What makes La Bohème so enduring is its accessibility. The storyline is clear and easy to follow, even for those who might be new to opera, and the music – those playful, lilting melodies – offers rich ground for energetic and heartfelt storytelling. This production takes full advantage of this, drawing out both the comedy and the tragedy with confident hands. For those who might usually favour musical theatre over opera, La Bohéme was the inspiration for Jonathan Larson’s ’90s rock musical RENT. If you know that show you’ll find many of the characters easily recognisable here, albeit without the LGBT layers.
The chemistry among the four male bohemian friends (Rodolfo, Marcello, Schaunard and Colline) is a particular highlight. Their camaraderie feels lived-in and natural, forming a warm, believable foundation on which the more romantic storylines are built. Ji-Min Park, Samuel Dundas, Benson Wilson and Hadleigh Adams have a lovely, relaxed chemistry together. Their banter and affection bring an effervescent energy to the stage that offsets the opera’s inevitable heartbreak.
Ji-Min Park is an absolute standout as Rodolfo. His tenor is lush, expressive, and fills the theatre with ease – particularly in the notes of ‘O soave fanciulla”, the romantic duet that closes Act One. He’s well matched by Elena Perroni’s Mimi, whose delicate strength and vocal warmth makes their love story feel genuine and deeply moving. As Musetta, Emma Pearson brings the Big Diva energy to the stage and absolutely captivates us all with ‘Quando me’n vo” following her entrance in Act Two.
Visually, this production is a feast. The decision to set the opera in 1947 post-war Paris adds vivid layers of texture and emotion. Costumes burst with colour, and the set design – especially the attic apartment shared by the friends – is full of evocative detail. I find the use of the glass ceiling particularly clever in making the large stage feel more intimate for the scenes in the garret. The lighting is masterfully done, bathing the scenes in atmosphere and adding drama, and the snowfall early in the show adds a sense of romantic magic that I can feel from my seat.
I want to acknowledge the clever use of the Opera Chorus in transitioning smoothly between Acts One and Two, providing seamless action with great momentum. However, Act Three feels like a misstep. The chorus seems underutilised here – not due to the performers, who are excellent – but because of a lull in the libretto’s energy post intermission. It’s a rare moment where the storytelling falters in what is otherwise a strong and emotionally resonant piece, and at 130 years old, it is still holding up nicely in the canon of artistic classics.
I wish to include a nod of appreciation to Iona Taylor, the surtitle operator, whose seamless and well-timed English translations allows the Italian lyrics to land with full emotional weight. It’s a subtle but essential part of making opera accessible to everyone in the audience, and it is done with great finesse.
This production of La Bohème reminded me exactly why it’s a cornerstone of the opera repertoire – full of laughter, love, and the ache of goodbyes. It’s a joy to return to a story so familiar and yet still capable of breaking your heart. There are only two more opportunities to take your seat for this lush and vibrant production: July 4 and 6.
Take note: the running time is shorter than what is being advertised, coming in at just 2 hours and 15 minutes including the intermission.
Review by Sophie Ricketts