Hye-Youn Lee as Mimi and Mario Chang as Rodolfo in Scottish Opera's stunning La Boheme at His Majesty's Theatre. Image - Mihaela Bodlovic
It is an opera that has inspired classic musicals, think Moulin Rouge and Rent, but if you want the best, seek out the original – La Boheme.
And this Scottish Opera production of Puccini’s tale of love and loss among struggling artists in Paris is simply sublime from start to finish, delighting the audience at HIs Majesty's Theatre last night.
While it is a revamp of a reboot – a revival of the acclaimed 2107 version by Barbe & Doucet which transported the action to the French capital of the 1920s – it is as fresh and powerful as the day the opera premiered in 1896.
The time shift is a clever device, opening with a contemporary setting in a bustling flea market that gradually melts away to the Jazz Age, as the opening bars of Puccini’s soaring score are played on a gramophone before the glorious Orchestra of the Scottish Opera roars into life.
And with that, the next two hours play out in a blizzard of music, laughter, tears, and spectacular stage craft, effortlessly shifting from the bohemian hovel in a garret to the glittering streets of Paris, full of festive lights, happy children and cosy restaurants.
It is the perfect framing for one of the best-loved – and best known – operas of all time as Puccini’s ravishing music swings between the heart-achingly romantic and the tearjerking tragic.
A bustling scene from La Boheme. Image - Mihaela Bodlovic
In that mix is, of course, the iconic aria “Che gelida manina” (Your tiny hand is frozen) sung by aspiring writer Rodolfo to penniless seamstress Mimi when they first meet.
Mario Chang makes for a perfect Rodolfo, fully inhabiting the character, and has a voice that effortlessly hits all the light and shade demanded of the role that made Pavarotti a household name.
He is more than matched by Hye-Youn Lee, who gives her doomed Mimi the necessary frailty, but character and depth, too. And that voice. It literally induces goosebumps at the most tender and poignant moments as the tragic tale plays out.
La Boheme is more of an ensemble piece than you might think, particularly as the parallel love story between painter Marcello and sparkling singer Musetta, plays out.
Roland Wood and Rhian Lois almost steal the show as the quarrelsome pair, especially during the iconic Musetta’s waltz (Quando me’n vo) as she sings a risque song to win Marcello back in a light and fun sequence set in a market place.
Another standout performance came from Edward Jowle, as the dashing and charming musician Schaunard. Edward brought the right flair and top vocals to merit his accolades as a Scottish Opera Emerging Artist for 2024-26.
Rhian Lois and Roland Wood as Musetta and Marcello in La Boheme. Image - Mihaela Bodlovic
And praise must also go to the faultless playing of the Orchestra of Scottish Opera under the baton of Stuart Stratford. They deserved the roars and cheers at the curtain call.
Opera is often seen – and dismissed – in some quarters as too highbrow and inaccessible. La Boheme – and this production in particular – is the antidote to that.
It is a captivating and moving story – which is why it has spawned numerous imitators – told against the backdrop of a score that hits every emotional beat with ease and precision, just like a modern musical.
If you are familiar with La Boheme, you will love this production from our national opera company at the top of its game.
If you are not, then get along to His Majesty’s and allow Scottish Opera to open the door for you into a wonderful world that will enrich your life.
Review by Scott Begbie