Oreste Cosimo as Rodolfo and Janai Brugger as Mimi in LA Opera's 2025 production of La Bohème. (Photo by Cory Weaver)
In the decades since Music Connection got going in 1977, there are certain genres of music that have never consistently found a home in these pages. There's no good reason for this, besides a general lack of expertise in some areas. Those genres include opera, classical and anything generally orchestral. That's on us, that's our bad, and we're going to endeavor to put it right. It's simply ancient thinking to believe that somebody with an interest in rock, pop, country and/or blues couldn't possibly also enjoy the work of Puccini, Mozart, Verdi, etc. We have more faith in you than that.
And so it was that, on a clear, crisp evening in early December, this writer found himself at the LA Opera, and specifically the stunning Dorothy Chandler Pavilion, for the first time to take in Puccini's beloved La Bohème.
Those who haven't been to the opera before might have some prior expectations. Let's start with the low hanging fruit. Yes, you can dress up in tuxes and evening gowns should you feel inclined. On the other hand, there is no dress code and those in casual wear aren't outnumbered or made to feel out of place in any way at all. If you're worried that a night at the opera is a nose-in-the-air, cartoonish vision of snobbery--don't be. An LA Opera experience is a welcoming one, and it's for everyone.
Nothing highlights this more than La Bohème. Alongside Madama Butterfly and Turandot (famous among casual appreciators of opera for the aria "Nessun Dorma"), La Bohème is one of Puccini's more enduring operas. Over four acts, we're introduced to four hard-up men who live together in the Latin Quarter of Paris (Rodolfo, Marcello, Colline and Schaunard) and the two women who capture the hearts of Rodolfo and Marcello (respectively, Mimi and Musetta).
The men are arty types--musicians, writers and, as the title suggests, bohemians. So when Marcello sees his spicy ex Musetta at the Café Momus with a rich, older lover called Alcindoro, he's not happy but it offers his chums the opportunity to engage in some witty banter.
The leads are all incredible. Italian tenor Oreste Cosimo, making his LA Opera debut in the role of Rodolfo, is wonderfully engaging, and his chemistry with Illinois soprano Janai Brugger (Mimi) is compelling throughout. Similarly, the characters of South Korean baritone Gihoon Kim (Marcello) and Rhode Island soprano Erica Petrocelli (Musetta) have a playful (if undeniably toxic by today's standards) energy. You simply can't take your eyes off of them, and their voices are never anything other than note perfect.
Chinese bass William Guanbo Su (Colline) and New York baritone Emmett O'Hanlon (Schaunard) complete the main players, though special mention must go to North Dakota tenor Nathan Bowles for bringing a magical, spritely energy to the role of toymaker/merchant Parpignol.
The set design, by Gerard Howland, is mind-blowing. Fully believable apartment buildings are erected, and they move around before our eyes. We're unquestionably transported to Paris--we see the sights, feel the cold, experience the high and lows. Howland's art is clearly as much a part of the show as that of any of the performers. The orchestra, led by Colombian conductor Lina González-Granados, is impeccable. We can't mention all of the cast, musicians and crew, but this is a team effort.
So we watch and listen as the two couples break up in Act III, before reaching the <SPOILER ALERT> devastating conclusion of Act IV, with Mimi succumbing to tuberculosis. Mimi and Rodolfo were at least reunited before she died, but it's too little, too late. We've been carried by incredible voices through a full range of emotions, and it ends with tragedy.
Tears wiped, this writer spilled out onto the streets of L.A. knowing full well that he'll be back at the opera in 2026. You should go too!
