Admin

Chicago Summer Opera

Bass

Christopher Comanescu

Benoît

Alcindoro

Roosevelt University

Orchestra

Orchestra of Chicago Summer Opera

Vocal coach

Soprano (+3)

Elizabeth Byrne

Soprano (+1)

Nicole Cabell

Tenor (+3)

Allan Glassman

Soprano (+2)

Alexandra LoBianco

Baritone (+3)

Jeff Mattsey

Mezzo-soprano (+6)

Viktoria Vizin

Conductor

Codruţ Bîrsan

Stage director

Mark Ross Clark

Conductor (+1)

Nao Nao Ge

Piano

Assistant Conductor

Jordan Brooks

Soprano

Hannah Hieronimus

Mimi

Louanna Colon

Musetta

Tenor

Adam Tynkov

Parpignol

Madeleine Gotschlich

Bass (+1)

Jovanni Ferrer

Colline

Bass-baritone

Piye Qin

Baritone (+1)

Matthew Hilberts

Marcello

Zoe Zdrojewski

Anastasia Antropova

Logan Williams

Rodolfo

Zidong Zhou

Hyunkyung Eo

Bass-baritone (+2)

Kevin Wheattle

Baritone

Yang Gao

Schaunard

Lifan Deng

La Bohème has been one of the world’s most popular and best-known operas in the repertoire. It has been set and re-set in 1900 near the time of the premiere of the opera, the present time, and in the future set in outer space. The setting we have chosen remains as originally designed by Puccini, the Latin Quarter of Paris, known as the place where artists and intellectuals meet and live. But instead of the 1830 time of the original setting, we’ve chosen the year 2035, or roughly 200 years after the original Murger story, as our time where the story begins. The look and feel of the environment are much the same as the original source material by Henri Murger (which was about 70 years before Puccini and librettist Luigi Illica set the opera), but there are differences as well. You still see that visual artists, poets, writers, and philosophers mingle to live and create there. But in our version, the future of the cultural trends in the world that so many artists and free thinkers have monetized by that time have not touched these artists, who continue to live and work with their original ideals. These ideals are originally born in a world of their own in the romantic idea that artists and free thinkers need to struggle to create and truly live, without the worldly comforts that can soften the edge of their creations.

In 2035, these Bohemians who we’ve found in Paris are largely living and loving in the same way that artists and free thinkers have existed for the last 200 years. But it is even more difficult to scratch out a living in this world of 2035. Art is created in more of a bubble with less of an opportunity for outside societies to be exposed to their art and writings. There is less support for artists at this time in the future. The separation between the haves and have-nots is wider, definitely. And the possibility of getting proper medical support is less likely. Young people have always felt invincible, it is supposed, but it is less and less a reality at this time, when there are new contagions in the world. Researchers in the present scientific community tell us that in the near future we can expect a forecasting, so to speak, of possible contagions that will affect the world in regards to the possibilities of future outbreaks of variants and new diseases. However, without immediate access to diagnosis and care medically, we will live in a world that is more and more difficult to control and contain these diseases, especially in city centers where more international travel moves. This is the world that we have created in our Bohème.

La Bohème remains one of the world’s most renowned and frequently performed operas. Over time, it has been adapted to various eras—including settings near the date of its premiere in 1900, contemporary interpretations, and even futuristic scenarios set in outer space. For our production, we have retained Puccini’s original vision of the Latin Quarter in Paris, historically recognized as a nexus for artists and intellectuals. However, our adaptation transposes the action to the year 2035—approximately two centuries after Henri Murger’s source material—while preserving much of the ambiance characteristic of the early narrative. 

In this version, visual artists, poets, writers, and philosophers continue to gather and create within this vibrant community. Distinctively, the anticipated commercialization of art and culture prevalent by 2035 has had little impact on these individuals, who remain committed to the ideals of artistic authenticity and creative struggle. These principles, rooted in the belief that adversity is essential to genuine artistic achievement, persist despite changing times.

By 2035, the challenges facing these Bohemians have intensified. Earning a livelihood through art has become increasingly difficult, with diminished opportunities for broader societal engagement and reduced institutional support for creative endeavors. Socioeconomic disparities have widened, and access to adequate medical care has become more limited. Although youth may continue to perceive themselves as resilient, the emergence of new contagions and the evolving threat of infectious diseases present significant risks. Contemporary scientific forecasts anticipate future outbreaks and variants; however, without immediate access to medical diagnosis and treatment, controlling these diseases—particularly in urban centers with high volumes of international travel—will become increasingly complex. This envisioned environment forms the backdrop for our interpretation of La Bohème.

Grianghraif