Though she had performed the role at the Royal Opera before, it seemed to take her some time to fully inhabit the character and she struggled vocally, particularly in the first act. Soprano Simona Mihai sang the role of Mimì in place of an ailing Sonya Yoncheva. He has a generous, enveloping sound and a natural energy on stage that was very captivating. I particularly enjoyed tenor Charles Castronovo in the role of Rodolfo. On the whole, it was a very well-sung production. Though sparse, the production managed to both create atmosphere and convey emotion elegantly and with minimal effort. The third act opened up on a well-lit little pub on a snowy but otherwise empty stage.

The Act II street scene in the Latin quarter presented an image of a bustling and festive Christmas Eve that felt both elevated and relaxed. The attic hovel that Marcello and Rodolfo call their home was a bare-boned structure of criss-crossing wooden beams. It felt quintessentially Parisian and conjured up all of the sights, smells, and senses one comes to expect but did so in a very understated way. I was very much taken with Stuart Laing’s production design.

This production by Richard Jones, which saw its first run of performances at the Royal Opera in 2017, takes a traditional if not somewhat stripped-back approach. It is a story that has been told many times in countless different ways. Beyond romantic love: La bohème at ROH Review Alessia Naccarato Jan 12, 2020Įven after seeing this opera many times over, I never seem to tire of it and continue to find joy and humanity in its most intimate moments, more so every time I see it.

La boheme royal opera house