Organization

Singer

Soprano

Ermonela Jaho

Mimi

Eleonora Buratto

Tenor

Michael Fabiano

Rodolfo

Andeka Gorrotxategi

Ruth Iniesta

Musetta

Raquel Lojendio

Baritone

Lucas Meachem

Marcello

Andrzej Filończyk

Joan Martín-Royo

Schaunard

Manel Esteve Madrid

Bass

Krzysztof Bączyk

Colline

Solomon Howard

Vicenç Esteve

Benoît

Pablo Garcia Lopez

Roberto Accurso

Alcindoro

Stage director

Richard Jones

Conductor

Nicola Luisotti

Luis Miguel Méndez

Lighting designer

Mimi Jordan Sherin

Costume designer

Stewart Laing

Set designer

Choreographer

Sarah Fahie

Chorus master

Andrés Máspero

Ana González

Libretto

Giuseppe Giacosa

Luigi Illica

Assistant Director

José Darío Innella

Teatro Real de Madrid

Royal Opera House

Others

Coro Intermezzo

Orchestra

Orquesta Sinfónica de Madrid

Pequeños Cantores de la JORCAM

italų

La Bohème

Madrid

Spain

Teatro Real

Sala Principal

La bohème Puccini

Private

Public

ispanų

anglų

Approved

La Bohème Puccini

SUN AND LOVE // "Sun and Love" with Katherine DeYoung (Excerpt)

SOLE E AMORE // “Sole e amore” with Katherine DeYoung (Excerpt)

Streaming: Friday 11 December 2020 at 7pm GMT, broadcast online as part of the Royal Opera House's #OurHouseToYourHouse series. Available to watch until 10 J...

Trailer: Stream La bohème (2020) 11 December 2020

Ruggero Leoncavallo and Giacomo Puccini both composed - almost simultaneously -    their respective versions of La bohème. The episodic nature of the literary source of these works –Scènes of la vie bohéme by Henri Murger was originally published in a literary magazine. It allowed both authors to put together very different librettos with one characteristic in common: both are a kaleidoscopic portrait of a community of young artists in an idealized Paris of the 1840s.  However, whereas for the composer of Pagliacci , Murger’s scenes of Bohemian life were replicated in  the cocktail of infidelities and jealousies that had brought him the success of his most emblematic piece, Puccini tempered the verista aspects of the story by transforming his opera into an everlasting ode to youth with a final and bitter nod to its inevitable impermanence.  The production by Richard Jones, which we remember from the 2017-2018 season, approaches this ≪ indestructible title ≫ with a respect for tradition, but taking its distance. The audience watches the stage hands shift scenery, perhaps in keeping  with a Puccini who  set aside raw verismo in order to preserve, as if wrapped in amber,  a piece of reality.

English

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