LA BOHEME, Opera Australia’s current offering at the iconic Joan Sutherland Theatre is more than just an operatic and theatrical triumph. In the depths of human experience, some emotions transcend words, finding solace in the universal language of music. La Bohème, a timeless masterpiece of opera, embodies this power, evoking the raw intensity of love, the searing ache of loss, and the bitter pangs of jealousy. Set against the poignant backdrop of poverty and struggle, this iconic tale of love and loss speaks directly to the soul, reminding us that music is the most potent expression of our shared humanity.
Giacomo Puccini, is no doubt one of the most celebrated opera composers, he has left an indelible mark on the world of music. Renowned for his tumultuous love affairs, Puccini’s personal life was said to be as dramatic as his music, accused of leaving a trail of broken hearts across Italy. Puccini drew on his own experiences as a poverty stricken artist, to create this magnificent opera, showcasing the universality of his characters’ struggles, through love and loss, grief and joy.
LA BOHEME tells the poignant story of young artists struggling to find their place in the world. Rodolfo (Kang Wang), Marcello (Luke Gabbedy), Schaunard (Shane Lowrencev), and Colline (David Parkin) are swept up in a whirlwind of creativity and passion, their lives forever changed by the arrival of Mimì (Debutant, with OA, Olivia Cranwell), a beautiful and enigmatic seamstress. Whilst, Marcello’s on-and-off relationship with Musetta (also a debutant with OA, Rachelle Durkin) highlights the fiery intensity of their love story, a moving portrayal of heartache, and human connections.
Danielle Maas’ debut as revival director elegantly brings to life the award winning and widely acclaimed work of original director Gale Edwards. Edwards moved the setting from Paris to Berlin, where we see the excess and extravagance of the Weimar Republic era juxtaposed to abject poverty. This choice cleverly underscores the timelessness of the human experience, showing Berlin as a city with a volatile atmosphere, marked by social upheaval and cultural transformation, thus serving as a poignant backdrop for the characters’ struggles. German born conductor Erina Yashim also made her Australian Opera debut and conducted with grace and precision, despite the audience being vocal in places where you would not expect.
Brian Thomson’s set design has stood the test of time and it further imbues the directorial vision exposing the chasm between the classes. The glittering fairy lights and the luxury interior of the Café Momus, heavily contrasts with the bohemian’s freezing garrett. Marcello’s artwork on the garret’s walls becomes a powerful symbol of creativity and resilience in the face of adversity. Lighting and costumes do a lot of heavy lifting to situate us in Berlin but the designs are both functional and exquisite.
Here, in this production, with many familiar faces and voices, within the poignant world of La Bohème, you can’t help but be struck by Puccini’s masterful use of leitmotifs and expressive melodies. The iconic aria “Che gelida manina” (Your tiny hand is frozen), sung by Rodolfo, showcases Wang’s technical skill and expressive voice as he effortlessly conveys the character’s vulnerability and sensitivity. Whilst, Cranwell’s Mimì was a perfect counterpart, her voice blending with Wang’s in a tender and intimate duet, “O soave fanciulla” (Oh lovely girl). The impressive lively ensemble, and fabulous children’ s chorus filled the stage with the toy vender and the audience was left wondering what other grandeur could possibly fill the stage next.
Vocally, for me, the highlight of this opera, however, is the instantly recognisable and world famous, Musetta’s waltz, (Quando me’n vo). Durkin plays the catharsis and humour effortlessly, showing both her vocal dynamism and physicality, at one point she is literally on top of a table, kudos for the choreography here.
There are some standout moments in this opera; the horse play of the bohemians, the use of transformational stage furniture like ladders and painters planks into beds and tables, the biblical allusions to the parting of the red sea in the mural, Mimi’s death where Rodolfo primal scream is never anticipated and, of course, the sensational snow falling as Marcello raises Musetta up pressed against his torso, in the freezing conditions. Yet, at times, some of the ideas felt a little dated, at times it felt raw and too intimate, but you can’t look away, even if you wanted to, as that too speaks to the human condition. To be so in love you don’t care who sees that explosion of passion and lust, well, that too is the whole voyeuristic nature of the human beast.
In La Bohème, Puccini’s masterpiece, we see a reflection of our own humanity, a reminder that the struggles and triumphs of the past continue to shape our present and future. As we imagine the connections that will continue to bind us, we are reminded that, despite the passage of time, human emotions and experiences remain a fundamental part of our shared human experience.
Puccini wrote operas about ordinary people and wanted to reach a greater audience. For opera buffs it is the final time this revival will play, so it is well worth catching, the next time we will see LA BOHEME, will be OA’s 70th anniversary where we are promised something new and different from Constantine Costi, so, in the meantime, if you have never seen an opera before, be tempted, this is something very special.
LA BOHEME opened on the 23rd August and is playing until the 20th September 2025 at the Joan Sutherland Theatre Sydney Opera House.
Production photography by Keith Saunders
