Jan 2 at 1 PM
Jan 5 at 7 PM
Jan 9 at 1 PM
Jan 21 at 7 PM
Jan 24 at 3 PM
Jan 29 at 7 PM
Feb 2 at 7 PM
Feb 6 at 8 PM
Feb 10 at 7:30 PM
Feb 13 at 7 PM
Feb 16 at 7 PM
Feb 19 at 7:30 PM
Feb 25 at 7:30 PM
Apr 10 at 12 PM
Apr 13 at 7:30 PM
Apr 17 at 8 PM
All exchange fees will be waived for tickets purchased in the 2020–21 season.
The performances of La Bohème scheduled for November 21, 25, and 28, and December 2, 5, 10, 13, and 30, have been CANCELED. If you purchased tickets for any of these dates, please review your ticketing options.
The January 2 performance originally scheduled for 8 p.m. has been CHANGED to a matinee beginning at 1 p.m. Any tickets purchased for the evening performance will automatically be transferred to the matinee.
The performances scheduled for January 5, 9, 21, 24, and 29, and April 10, 13, and 17, REMAIN on the calendar, but some curtain times have changed.
Performances have been ADDED on February 2, 6, 10, 13, 16, 19, and 25.
Please see individual dates below for casting details and curtain times.
Franco Zeffirelli’s definitive staging of the world’s most popular opera returns for another season with several luxury casts gracing the garrets of bohemian Paris. Tenors Dmytro Popov, Joseph Calleja, and Matthew Polenzani are the tortured poet Rodolfo, with sopranos Angel Blue (fresh from her triumphant performances of Bess in Porgy and Bess last season), Eleonora Buratto, and Angela Gheorghiu trading off as the heartbreaking seamstress Mimì. Domingo Hindoyan, Xian Zhang, Nimrod David Pfeffer, and Marco Armiliato conduct.
Production a gift of Mrs. Donald D. Harrington
Revival a gift of The Sybil B. Harrington Endowment Fund
World premiere: Teatro Regio, Turin, 1896. La Bohème, the passionate, timeless, and indelible story of love among young artists in Paris, can stake its claim as the world’s most popular opera. It has a marvelous ability to make a powerful first impression and to reveal unsuspected treasures after dozens of hearings. At first glance, La Bohème is the definitive depiction of the joys and sorrows of love and loss; on closer inspection, it reveals the deep emotional significance hidden in the trivial things—a bonnet, an old overcoat, a chance meeting with a neighbor—that make up our everyday lives.
Giacomo Puccini (1858–1924) was immensely popular in his own lifetime, and his mature works remain staples in the repertory of most of the world’s opera companies. His librettists for La Bohème, Giuseppe Giacosa (1847–1906) and Luigi Illica (1857–1919), also collaborated with him on his next two operas, Tosca and Madama Butterfly. Giacosa, a dramatist, was responsible for the stories and Illica, a poet, worked primarily on the words themselves.
Peter J. Hall
The libretto sets the action in Paris, circa 1830. This is not a random setting, but rather reflects the issues and concerns of a particular time when, following the upheavals of revolution and war, French artists had lost their traditional support base of aristocracy and church. The story centers on self-conscious youth at odds with mainstream society—a Bohemian ambience that is clearly recognizable in any modern urban center. La Bohème captures this ethos in its earliest days.
Lyrical and touchingly beautiful, the score of La Bohème exerts an immediate emotional pull. Many of its most memorable melodies are built incrementally, with small intervals between the notes that carry the listener with them on their lyrical path. This is a distinct contrast to the grand leaps and dives that earlier operas often depended on for emotional effect. La Bohème’s melodic structure perfectly captures the “small people” (as Puccini called them) of the drama and the details of everyday life.