LA Opera's 'La Bohème' Revival Sparkles with Glorious Voices and Sumptuous Visuals
/By Truman C. Wang
11/24/2025
Photo credit: Cory Weaver
Janai Brugger as Mimi and Oreste Cosimo as Rodolfo
LA Opera's beloved Herbert Ross production of La Bohème returns to the Dorothy Chandler Pavilion last night, November 22, for its ninth incarnation (previously seen in 1993, 1997, 2000, 2004, 2007, 2012, 2016, 2019), proving once again why Puccini's bohemian heartbreaker remains opera's most reliable tearjerker. Under the spirited baton of Resident Conductor Lina González-Granados, this revival of a 30-year-old production radiates with fresh energy and high emotions.
Soprano Janai Brugger makes her role debut as Mimì with exquisite tenderness, her shimmering soprano caressing each phrase with heartbreaking delicacy. A former Musetta, she assumed the leading role with grace and touching vulnerability. Italian tenor Oreste Cosimo, the Rodolfo, brings a warm, generous sound and fine squillo to be a convincing poet.
The supporting cast are all exceptional across the board. BBC Cardiff Singer of the World winner Gihoon Kim commands attention as Marcello with his velvet baritone. Soprano Erica Petrocelli reprises her Musetta with scene-stealing vivacity. William Guanbo Su's resonant bass gives Colline real depth. Emmett O'Hanlon adds warmth as Schaunard, and the always-dependable Rod Gilfry -- making his 38th and 39th role appearances with the L.A. Opera -- brings comic gold to both landlord Benoît and Musetta’s rich old beau Alcindoro.
Lina González-Granados conducts with sensitivity and sweep, drawing lush Romanticism from the orchestra while never overwhelming the stage. The strings were lyrical and warm, the harp and flute pulsing with life. Filmmaker Herbert Ross's production updates the setting to 1890s Paris rather than Puccini's original 1840s. Brenna Corner's direction keeps Ross's timeless vision alive—that evocative Parisian setting with its rooftop garret and partially constructed Eiffel Tower remains as magical as ever. Gerard Howland's sets and Peter Hall's period costumes evoke the world of Manet, Degas, and Toulouse-Lautrec with painterly beauty.
My only quibble with the staging is the elevated position of the garret, making Rodolfo’s and Mimi’s big arias and duet in act one hard to hear (which may also be a fault of the cavernous Dorothy Chandler auditorium); the plucked harp strings as Rodolfo sprinkles water on fainted Mimi were all but inaudible. Fortunately, the singers are moved downstage for the final act.
I judge every Bohème by whether or not the act four makes me teary-eyed; it did last night. This fine performance of Puccini’s perennial classic offers glorious voices, sumptuous visuals, and that final, crushing blow that leaves few dry eyes in the house. Additional shows on November 30 and December 4, 6, 10, 14.
photo: classicalvoice.org
Truman C. Wang is Editor-in-Chief of Classical Voice, whose articles have appeared in the Pasadena Star-News, San Gabriel Valley Tribune, other Southern California publications, as well as the Hawaiian Chinese Daily. He studied Integrative Biology and Music at U.C. Berkeley.