From Latin Quarter to War Memorial, Why SF Opera’s La Bohème Still Moves Us
“When it comes to dreams and visions and castles in the air, I have the soul of a millionaire!” Rodolfo’s greatest aria “Che gelida manina” in Puccini’s opera La Bohème is a love song to Mimi, but also a self-portrait of a young poet struggling for his artistic ambition living in poverty. Nearly 130 years after its premiere in Turin, La Bohème still resonates with its emotional realism and human experience with the modern audience. San Francisco Opera’s summer season opener of this all-time classics was no exception on stage at the War Memorial Opera House on June 3 with conductor Ramon Tebar leading revival of John Caird’s staging featuring an international cast.
Giacomo Puccini’s La Bohème is one of the most popular operas in the world and most frequently performed worldwide and by SF Opera with 46 previous seasons including the Company’s inaugural season on September 26, 1923, conducted by Company founder Gaetano Merola.
Loosely based on the autobiographical novel "Scenes de la vie de Boheme" by French writer Henri Murger, La Bohème tells the story of a group of young artists pursuing ambition and love while struggling in poverty with the plot centering around Rodolfo, a playwright and poet, who falls in love with Mimi, a neighbor and seamstress who embroiders flowers on silk.
A tale marked by realism and naturalism made Puccini stand out against his competition at the time still delivers today. The stage and costume design stay true to 19 th -centry Paris. It starts in a cramped garret (an artistic loft) in Act I, shabby and dark but creative, reflecting the bohemian lifestyle of Rodolfo (by Pene Tati) and his friends and highlighting the candlelit intimacy where Rodolfo and Mimi (by Chia-ling Ho, role debut) found love; the stage changes to the lively Latin Quarter of Paris especially Café Momus in Act II, demonstrating the energy of Paris street life, bustling and vibrant; Act III changes to a snowy, sober winter setting outside Paris at Barrière d'Enfer, gritty and poignant, focusing on a coughing and sick Mimi struggling in poverty and her emotional turbulence with Rodolfo; Act IV returns to the garret’s intimate surroundings with Mimi dying in bed surrounded by friends and her love Rodolfo. Especially joyful for audience is the unique buoyancy of Parisian setting staged in the lobby and two floors up that are photo ready scenes for selfie and groups.
The orchestra conducted by Spanish conductor Ramon Tebar paced the evening. Elegant and reserved at delicate moments while rushing and swelling at climaxes, with snaps and constraints in between, the orchestra dictates the drama. Several greatest arias with the poetic libretto are universal favorites of opera lovers.
La Bohème, the all-time classic depicting youthful ambition, dreams and yearning for love, friendship and connection, is just as relevant today, in the post-pandemic and the Age of Artificial Intelligence, as ever. In her greatest aria "Sì, mi chiamano Mimì", Mimi sings “I love all things that have gentle sweet smells, that speak of love, of spring, of dreams and fanciful things, those things that have poetic names”. Mimi dies of her illness while her love story with Rodolfo carries on in his lifetime memory and transcends time of a century. Whether you are a lifelong opera lover or a curious first-timer, SF Opera’s La Bohème offers a profound human journey that is timeless and relevant of the moment. Running June 21, War Memorial Opera House, San Francisco.