
La bohème
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Limited Tickets
In the vibrant playground of 1920s Paris, six Bohemians come together in pursuit of connection, meaning and artistic greatness. Set in this golden age of artistic revolution, Puccini’s timeless tale of love, longing and sacrifice resonates anew.
Directed by James Robinson, expect a visual feast that complements the emotional depth of a work that has captivated in every medium. Conductor Iván López Reynoso leads an exciting cast. American soprano and former apprentice Sylvia D’Eramo sings Mimì, Chinese tenor Long Long is Rodolfo and Polish baritone Szymon Mechliński makes his U.S. debut in the role of Marcello. Former Apprentice Singer Emma Marhefka is Musetta, Mexican-American baritone Efraín Solís is Schaunard and American bass Soloman Howard returns to the Santa Fe Opera stage as Colline.
En el vibrante escenario del París de los años 20 del siglo pasado, seis bohemios se unen en busca de grandeza artística, de vínculos auténticos y del significado de la vida. Ambientada en una era dorada de revolución artística, esta eterna historia de amor, anhelo y sacrificio de Puccini resuena de nuevo.
Bajo la dirección de James Robinson le invitamos a un festín visual acorde con la profundidad emocional de una obra que ha cautivado al público desde su estreno. La dirección musical corre a cargo de Iván López Reynoso y el elenco de cantantes es deslumbrante: la soprano estadounidense y antigua integrante de nuestro programa de jóvenes talentos Sylvia D’Eramo interpreta a Mimì, el tenor chino Long Long es Rodolfo y el barítono polaco Szymon Mechliński encarna a Marcello en el que es su debut en Estados Unidos. Emma Marhefka es Musetta, el barítono mexicano-estadounidense Efraín Solís es Schaunard y el bajo estadounidense Soloman Howard regresa al escenario de la Ópera de Santa Fe como Colline.
Synopsis
Act I
Montparnasse. The poet Rodolfo and the painter Marcello are struggling to keep warm in their attic apartment on Christmas Eve. Rodolfo sacrifices his latest manuscript to the stove. The philosopher Colline enters and they watch the play burn. In comes the musician Schaunard with food, fuel and wine. As the young men celebrate their sudden good fortune, Benoît the landlord enters to collect the rent. They get him drunk and ply him with questions about women, then shove him out, feigning indignation at his supposed immorality. Marcello, Colline and Schaunard set out for the Café Momus, leaving Rodolfo alone to finish an article. He hears a timid knock: it is a pretty neighbor whose candle has gone out on the stairs. She suddenly feels faint, and he revives her with a little wine and relights her candle. She realizes she has lost her key, and as they both bend down to look for it, he finds it and slips it into his pocket. Their hands meet under the table, hers icy cold. He asks her name. She is called Mimì, and she lives alone in a garret where she embroiders flowers. The two are instantly and madly enamored and leave for the Café Momus to join Rodolfo’s friends.
Montparnasse. El poeta Rodolfo y el pintor Marcello se esfuerzan por mantener el calor en su frío ático en la víspera del día de Navidad. Rodolfo sacrifica su último manuscrito para alimentar la estufa. Entra el filósofo Colline y todos observan cómo las llamas consumen la obra de Rodolfo. Llega el músico Schaunard con comida, vino y algo de combustible. Mientras los jóvenes celebran su repentina buena fortuna, el casero Benoît entra a cobrar el alquiler. Lo emborrachan y lo interrogan sobre las mujeres para acto seguido echarlo del apartamento fingiendo indignación por su supuesta inmoralidad. Marcello, Colline y Schaunard se dirigen al Café Momus, dejando a Rodolfo solo para terminar un artículo. Mientras trabaja, escucha un tímido golpe en la puerta: es una vecina hermosa a la que se le ha apagado el candil en la escalera. Rodolfo la nota débil. La reanima con un poco de vino y vuelve a encender su vela. Ella se da cuenta de que ha perdido su llave. Mientras ambos se agachan a buscarla, él la encuentra y se la guarda en su bolsillo. Sus manos se encuentran bajo la mesa. La de ella está helada. Rodolfo le pregunta su nombre. Se llama Mimì y vive sola en un desván donde borda flores. Ambos se enamoran al instante. Parten al Café Momus para reunirse con los amigos de Rodolfo.
Artists

Sylvia D'Eramo
Soprano
Mimì

Long Long
Tenor
Rodolfo

Szymon Mechliński
Baritone
Marcello

Emma Marhefka
Soprano
Musetta

Efraín Solís
Baritone
Schaunard

Korin Thomas-Smith
Baritone
Schaunard (Aug 14, 19, 23)

Soloman Howard
Bass
Colline

Kevin Burdette
Bass
Benoît/Alcindoro

Ángel Vargas
Tenor
Parpignol

Evan Lazdowski
Bass-baritone
Sergeant (June 27-July 28 & August 6-23)

Will Ryan
Bass
Sergeant (August 2)

Randell McGee
Baritone
Custom-House Officer

Jacob Abrahamse
Tenor
Street Vendor

Iván López Reynoso
Conductor

James Robinson
Director

Allen Moyer
Scenic Designer

Constance Hoffman
Costume Designer

Duane Schuler
Lighting Designer

David Zimmerman
Wig & Makeup Designer

Susanne Sheston
Chorus Director

Willem Van Schalkwyk
Children's Chorus Director
Director's Vision
JAMES ROBINSON
“Puccini Always Wins.”
by Michael Clive
James Robinson brings freshness to love’s old song.
James Robinson, director of this season’s new production of Puccini’s La bohème, first worked with the Santa Fe Opera more than thirty years ago. Since then he has emerged not only as one of the most sought-after directors in opera, but also as the general director of the Seattle Opera. What could he mean by his bold assertion that “Puccini always wins”?
“La bohème has a perfect libretto,” notes Robinson. “He was a master dramatist. Many operas have great scripts that can work powerfully on the stage, but just a few have this concise, gem-like melding of text and music. Bohème and Onegin are prime examples.” With music that perfectly expresses the joys and travails of young love, La bohème is currently the popular favorite at major opera houses around the world.
“Regardless of whether an opera is a rarity or a repertory staple,” says Robinson, “I begin by assuming that nobody has seen it. It should be a fresh, first-time experience.” Keeping this in mind, he notes, helps him conceive a production anew rather than reviving timeworn tropes.
Robinson and his longtime design collaborator, Allen Moyer, created a production of La bohème in New York in 2000 that traveled widely, providing invaluable lessons in what works in this intimate drama. “We’ve copied some of our own best ideas,” Robinson notes, echoing a famous rule among composers: always steal from the best. But this season’s realization, set in 1920s Paris, is far different.
“Puccini’s music is already more modern than Murger’s stories,” notes Robinson. “By setting the opera in the inter-war period we can create a milieu with more edge, looking at things that were going on in the world … how creative people like Rodolfo and Mimí were living then. It helps us focus on the elements of everyday life, deepening ideas we take for granted. Like, why is Mimí carrying a candle? Are they living in a world of candlelight, or perhaps is their electricity is unreliable?”
In this instance, it’s not the devil that’s in the details … it’s the romance.