Love, envy and illness are a heady mix in Opera Australia’s lavish new staging of one of the most popular operas ever written. Set in Paris, the bittersweet story, which lurches from comic to tragic, is compelling under the watchful eyes of impressive director Constantine Costi. The music. The voices. The realisation. It is so lively and emotional. It is cheeky and sexy and fraught – and, ultimately, heartbreaking. But more of that in a moment.
Act II, in particular, at Café Momus, explodes in a celebration of creativity and colour, culminating in an extravagant Christmas parade. Magnificent. Giacomo Puccini composed the opera in four acts between 1893 and 1895 to a libretto by Guiseppe Giacosa and Luigi Illica. The story is that of a turbulent love affair between young poet Rodolfo and seamstress Mimi. Theirs is a devastating romance.
Rodolfo shares a bitterly cold apartment with painter Marcello. They are joined by friends, Colline, a philosopher and Schaunard, a musician. Rodolfo is visited by neighbour Mimi, and it is love at first sight. All gather for much revelry at the Café Momus. It is where we are also introduced to the larger-than-life persona of free-spirited singer Musetta, Marcello’s on/off lover. Although Rodolfo cares deeply for Mimi, he is a jealous man. For her part, Mimi is impoverished and sickly … and she is getting progressively worse, with the end drawing near.
With her strong, rich vocal tone, Russian-born soprano Galina Cheplakova, in her Australian debut, is superb as Mimi. Australian-Chinese lyric tenor Kang Wang excels as the torn and troubled Rodolfo. Lyric coloratura soprano Alexandra Flood is the ultimate provocateur in a buoyant display as Musetta. Baritone Luke Gabbedy adds heft as Marcello. Stephen Marsh as Schaunard and David Parkin as Colline deliver spark. Clifford Plumpton makes an instant impression as the struggling artists’ landlord who arrives to collect their overdue rent. He also doubles as a sergeant.
So it is that they, the other principals and the Opera Australia Chorus and Opera Australia Children’s Chorus deliver a La Bohème to savour. Much praise also for Orchestra Victoria, helmed by British conductor Finnegan Downie Dear, who appears for Opera Australia for the first time. The set design by Dann Barber is masterful. The contrast between the artists’ garret and the café in Acts I and II couldn’t be more striking. And then we have the desolate winter night streetscape in Act III, as the opera takes another sharp turn. Finally, the moving representation of the death scene in Act IV.
Sabina Myers’ costuming, especially what she has fashioned for Act II, is an eye-catching feast. Words can’t do it justice. Bravo! Morgan Moroney’s lighting adds depth and focus. Movement is the domain of Shannon Burns, who keeps the action flowing beautifully. What a demonstrative ride Opera Australia’s La Bohème is – one that is well worth taking. Two hours 15 minutes, including interval, it is on at Regent Theatre until 18th November, 2026.
Alex First
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
