Bold take: the enduring charm of La Bohème at L.A. Opera proves that a classic can stay relevant by reinventing how it’s told while preserving its soul. In 2012, we saw a revival of a 19-year-old production famed for its Toulouse-Lautrec-inspired sets, cinematic flair, and the Hollywood touch of director Herbert Ross. I noted then that great productions endure, even if one day they must be replaced. Yet, that replacement schedule didn’t come to pass—the revival lingered, returning to the Dorothy Chandler Pavilion three years later.
Angelenos weren’t about to keep quiet, though. Gustavo Dudamel steered a futurist Bohème in Paris, set in outer space. Visionary staging by Yuval Sharon, who leads The Industry, flipped Bohème on its head by telling the story backwards—Mimi’s death in Act IV, ending with the lovers’ first kiss in Act I. He pulled this off brilliantly at Spoleto in South Carolina and later at Detroit Opera, where he remains at the helm.
L.A. Opera wasn’t idle. In 2019, they brought in Barrie Kosky’s bold reimagining of Bohème from Berlin’s Komische Oper. Kosky’s take captured the Parisian bohemians with humor, menace, audacity, and serious intent—an interpretation that felt as much about who we are as about Puccini’s music.
And yet, tradition wins out in terms of the company’s choices. For its 40th season, L.A. Opera looks backward in time, revisiting its most successful, longest-running, and most frequently performed (and likely most profitable) Bohème. Not only is Bohème the company’s most staged opera, it is also one of the most performed works worldwide.
The latest revival of Ross’s production, which I attended on its second Sunday matinee, runs through December 14. The casting is solid, it still sparks on stage, and it should satisfy holiday crowds looking for a familiar favorite.
This Bohème can feel like an old friend—much like a dependable film rerun on Turner Classic Movies. We’re reminded of Ross’s background as a dancer and choreographer with American Ballet Theatre and Broadway, and how his directing gave singers a keen sense of movement. Over the years, the principal performers, the conductor, and even the director have changed (Ross passed away in 2001). The production’s popularity helped keep costs down and audiences engaged by featuring rising stars and guest conductors from around the world. Notable moments include Plácido Domingo conducting early performances and Gustavo Dudamel’s guest appearance in 2016.
This revival continues that pattern. Four of this year’s leads are making their debut with L.A. Opera, two are returning alumni of the Ross Bohème, and one previously worked on Kosky’s Bohème. Lina González-Granados conducts, and Brenna Corner serves as stage director, both new to this production.
The Paris in this production feels on the cusp of modernity. The young bohemians—Rodolfo the poet, Marcello the painter, Schaunard the musician, Colline the philosopher—live in a garret, full of creativity and poverty, determined to reshape their world. Their romantic counterparts—Mimi, a neighbor who falls for Rodolfo, and Musetta, a lively social butterfly—ground the drama and give it emotional gravity.
Oreste Cosimo makes a notable L.A. debut as Rodolfo, paired with Janai Brugger as Mimi. Cosimo’s tenor may be lighter than a grand pavilion role, but his focus, flexibility, and acting presence hold their own. Brugger, who sang Musetta in 2012 and 2016 Bohèmes, returns with lush tone and a controlled vibrato that blooms into power when needed. Gihoon Kim (Marcello), William Guanbo Su (Colline), and Emmett O’Hanlon (Schaunard) are all newcomers to the company and form a convincing, multicultural troupe of Parisian émigrés.
Rodol Gilfry, once a dashing Rodolfo and a longtime concert presence, delivers delightfully timed humor as Benoît and Alcindoro. Erica Petrocelli—who previously performed Musetta for Kosky—softens theatrics here but still lets her vocal power shine. González-Granados shapes the orchestra with a bright, taut ensemble, occasionally high-energy and precise.
While this Bohème may not feel as grand as it once did, its celebration—Christmas Eve festivities, children, and playful street scenes—still dazzles. Rodolfo and Marcello’s Seine bicycle ride underscores their feeling of being adrift, and as Mimi’s illness deepens, the production’s emotional truth lands with quiet, devastating effect.
Perhaps some productions endure forever because tradition sustains them. New York’s Met continues its own Bohème tradition with Zeffirelli’s 1981 staging, featuring multiple conductors and casts, ensuring the season’s lights stay on while newer approaches emerge elsewhere.
If such experimentation helps finance transformative projects in the broader opera world—like Yuval Sharon’s forthcoming Wagner reinventions at the Met—then Bohème remains a worthy anchor that keeps audiences engaged while preserving a living art form.
Event details
La Bohème
Where: Dorothy Chandler Pavilion, 135 Grand Ave., Los Angeles
When: Through December 14
Tickets: $59–$435
Running time: About 2 hours 30 minutes
Info: (213) 972-8001, laopera.org
Additional reading
