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Emma Marhefka (Musetta), photo by Curtis Brown for the Santa Fe Opera

La bohème

June 27 - August 23, 2025

In the vibrant playground of 1920s Paris, six Bohemians come together in pursuit of connection, meaning and artistic greatness. Set in this golden age of artistic revolution, Puccini’s timeless tale of love, longing and sacrifice resonates anew.

Directed by James Robinson, expect a visual feast that complements the emotional depth of a work that has captivated in every medium. Conductor Iván López Reynoso leads an exciting cast. American soprano and former apprentice Sylvia D’Eramo sings Mimì, Chinese tenor Long Long is Rodolfo and Polish baritone Szymon Mechliński makes his U.S. debut in the role of Marcello. Former Apprentice Singer Emma Marhefka is Musetta, Mexican-American baritone Efraín Solís is Schaunard and American bass Soloman Howard returns to the Santa Fe Opera stage as Colline.


En el vibrante escenario del París de los años 20 del siglo pasado, seis bohemios se unen en busca de grandeza artística, de vínculos auténticos y del significado de la vida. Ambientada en una era dorada de revolución artística, esta eterna historia de amor, anhelo y sacrificio de Puccini resuena de nuevo.

Bajo la dirección de James Robinson le invitamos a un festín visual acorde con la profundidad emocional de una obra que ha cautivado al público desde su estreno. La dirección musical corre a cargo de Iván López Reynoso y el elenco de cantantes es deslumbrante: la soprano estadounidense y antigua integrante de nuestro programa de jóvenes talentos Sylvia D’Eramo interpreta a Mimì, el tenor chino Long Long es Rodolfo y el barítono polaco Szymon Mechliński encarna a Marcello en el que es su debut en Estados Unidos. Emma Marhefka es Musetta, el barítono mexicano-estadounidense Efraín Solís es Schaunard y el bajo estadounidense Soloman Howard regresa al escenario de la Ópera de Santa Fe como Colline.

Music By
Giacomo Puccini
Libretto By
Luigi Illica and ‎Giuseppe Giacosa
A co-production with
Seattle Opera
Sung In
Italian
Instant Translation Screen
English and Spanish
Production Support Generously provided by
The Tobin Endowment
Additional artistic support by
E.H. Corrigan Foundation Fund
The performances of Sylvia D’Eramo are supported by
David & Frances Ertel
The performances of Emma Marhefka are supported by
The Joseph and Robert Cornell Memorial Foundation
The performances of Efraín Solís are supported by
The Joseph and Robert Cornell Memorial Foundation
Run Time
Approximately 2 hours 20 min; includes a 25-minute intermission

Synopsis

Act I

Montparnasse. The poet Rodolfo and the painter Marcello are struggling to keep warm in their attic apartment on Christmas Eve. Rodolfo sacrifices his latest manuscript to the stove. The philosopher Colline enters and they watch the play burn. In comes the musician Schaunard with food, fuel and wine. As the young men celebrate their sudden good fortune, Benoît the landlord enters to collect the rent. They get him drunk and ply him with questions about women, then shove him out, feigning indignation at his supposed immorality. Marcello, Colline and Schaunard set out for the Café Momus, leaving Rodolfo alone to finish an article. He hears a timid knock: it is a pretty neighbor whose candle has gone out on the stairs. She suddenly feels faint, and he revives her with a little wine and relights her candle. She realizes she has lost her key, and as they both bend down to look for it, he finds it and slips it into his pocket. Their hands meet under the table, hers icy cold. He asks her name. She is called Mimì, and she lives alone in a garret where she embroiders flowers. The two are instantly and madly enamored and leave for the Café Momus to join Rodolfo’s friends.


Montparnasse. El poeta Rodolfo y el pintor Marcello se esfuerzan por mantener el calor en su frío ático en la víspera del día de Navidad. Rodolfo sacrifica su último manuscrito para alimentar la estufa. Entra el filósofo Colline y todos observan cómo las llamas consumen la obra de Rodolfo. Llega el músico Schaunard con comida, vino y algo de combustible. Mientras los jóvenes celebran su repentina buena fortuna, el casero Benoît entra a cobrar el alquiler. Lo emborrachan y lo interrogan sobre las mujeres para acto seguido echarlo del apartamento fingiendo indignación por su supuesta inmoralidad. Marcello, Colline y Schaunard se dirigen al Café Momus, dejando a Rodolfo solo para terminar un artículo. Mientras trabaja, escucha un tímido golpe en la puerta: es una vecina hermosa a la que se le ha apagado el candil en la escalera. Rodolfo la nota débil. La reanima con un poco de vino y vuelve a encender su vela. Ella se da cuenta de que ha perdido su llave. Mientras ambos se agachan a buscarla, él la encuentra y se la guarda en su bolsillo. Sus manos se encuentran bajo la mesa. La de ella está helada. Rodolfo le pregunta su nombre. Se llama Mimì y vive sola en un desván donde borda flores. Ambos se enamoran al instante. Parten al Café Momus para reunirse con los amigos de Rodolfo.

Act II

The Latin Quarter. Everyone is in the street–selling, shopping, dining, celebrating. Rodolfo buys Mimì a lovely gift and they join the others at a table at the Café Momus to order supper. Parpignol the toy-vendor passes by with jubilant children in his wake. A commotion accompanies the entrance of the spectacular Musetta, once Marcello’s lover, upon the arm of the aged and wealthy Alcindoro. Musetta sings a chic waltz–a hymn to her own appeal–then makes a scene over a too-tight shoe. She sends Alcindoro off with it to the cobbler’s and falls into Marcello’s arms. The military band passes by, and the friends follow the soldiers, leaving Alcindoro to pay the bill when he returns.


El Barrio Latino. La calle está de bote en bote: gente vendiendo, comprando, cenando, celebrando… Rodolfo compra un hermoso regalo para Mimì y ambos se reúnen con los demás en una mesa del Café Momus para cenar. Parpignol, el vendedor de juguetes, pasa con un grupo de alegres niños tras él. La multitud se alborota al entrar la espectacular Musetta, antigua amante de Marcello, acompañada del anciano y rico Alcindoro. Musetta canta un elegante vals, un himno a su propia belleza, y acto seguido monta una escena porque uno de sus zapatos está demasiado ajustado. Envía a Alcindoro a que lo lleve al zapatero y se lanza en los brazos de Marcello. La banda militar pasa y el grupo de amigos sigue a los soldados, dejando atrás a Alcindoro para que pague la cuenta cuando regrese.

Act III

A gate to the city. A cold dawn breaks as milk women, scavengers, farmers, and truckmen wait to be admitted. Mimì arrives and sends a message to Marcello to come out of the warm, lively tavern to talk to her. She explains that Rodolfo is so jealous that she fears they must part. Rodolfo comes out of the tavern in search of Marcello, and Mimì hides. Rodolfo tells Marcello that he wants to separate from Mimì because of her flirtatiousness. Marcello doesn’t believe him, and Rodolfo confesses his real fear that their poverty aggravates her declining health. Mimì weeps and coughs violently, revealing her presence. Rodolfo rushes to her. They gently decide to part. Marcello hears Musetta’s laughter from the tavern and soon re-emerges with her in the heat of a quarrel over her flirtatiousness. While they hurl epithets, Mimì and Rodolfo postpone their parting until the spring.


Una puerta de la ciudad. Comienza a amanecer y hace frío. Las lecheras, los chatarreros, los campesinos y los camioneros esperan para entrar en la ciudad. Mimì llega y envía un mensaje a Marcello para que salga de la cálida y animada taberna en la que está a hablar con ella. Le explica que Rodolfo es tan celoso que ella cree que es mejor que se separen. Mimì se esconde y Rodolfo sale de la taberna en busca de Marcello para contarle que él también quiere separarse de Mimì debido a su coquetería. Marcello no le cree y Rodolfo confiesa su verdadero temor: su pobreza puede agravar la ya de por sí frágil salud de Mimì. Mimì llora y tose violentamente, revelando su presencia. Rodolfo se apresura a su lado. Deciden separarse de mutuo acuerdo. Marcello escucha la risa de Musetta desde la taberna y al rato vuelve a salir con ella en plena disputa por sus constantes coqueteos. Mimì y Rodolfo aplazan su separación hasta la primavera.

Act IV

Montparnasse. Back in the attic, Rodolfo longs for Mimì, of whom he has had no news, and Marcello pines for Musetta, who is with a wealthy patron. Colline and Schaunard bring a little food, and the friends seek to lift their spirits with a frolic, which turns into a mock duel. In the midst of the fun Musetta bursts in, saying she has met Mimì in the street. The girl is desperately ill and wants only to be brought up to Rodolfo. Rodolfo brings Mimì in and holds her icy hands. They have nothing to give her. Musetta takes off her earrings and gives them to Marcello to sell. Colline goes to pawn his coat. Musetta runs off to get a muff for Mimì’s hands. Left alone, Mimì and Rodolfo relive and proclaim their love. Musetta and the others return, bustling, Musetta praying, but it is too late. While they prepare medicine for her, she slips away. As the others stand dazed, Rodolfo collapses upon her: “Mimì! Mimì!”


Montparnasse. De vuelta en el ático, Rodolfo añora a Mimì, de quien no ha tenido noticias, y Marcello suspira por Musetta, quien se ha ido con un rico mecenas. Colline y Schaunard traen algo de comida y el grupo de amigos intenta levantar el ánimo general con una fiesta que se acaba convirtiendo en un duelo simulado. En medio de la diversión, Musetta irrumpe diciendo que ha encontrado a Mimì en la calle. La chica está gravemente enferma y sólo desea que la lleven junto a Rodolfo. Rodolfo trae a Mimì y toma sus frías manos. No tienen nada para darle. Musetta se quita los pendientes y se los da a Marcello para que los venda. Colline sale a empeñar su abrigo. Musetta corre a conseguir un manguito para las manos de Mimì. Mimì y Rodolfo se quedan solos y reviven y proclaman su amor. Los demás regresan agitados. Musetta comienza a rezar pero es demasiado tarde. Mientras preparan medicinas para Mimì, ésta comienza a desvanecerse. En medio del aturdimiento general, Rodolfo se desploma sobre ella gritando: “¡Mimì! ¡Mimì!”

Artists

Sylvia D'Eramo

Sylvia D'Eramo

Soprano

Mimì

Long Long

Long Long

Tenor

Rodolfo

Szymon Mechlinksi

Szymon Mechliński

Baritone

Marcello

Emma Marhefka

Emma Marhefka

Soprano

Musetta

Efraín Solis

Efraín Solís

Baritone

Schaunard

Korin Thomas Smith

Korin Thomas-Smith

Baritone

Schaunard (Aug 14, 19, 23)

Soloman Howard

Soloman Howard

Bass

Colline

Kevin Burdette headshot

Kevin Burdette

Bass

Benoît/Alcindoro

Ángel Vargas

Ángel Vargas

Tenor

Parpignol

Evan Lazdowski

Evan Lazdowski

Bass-baritone

Sergeant 

Randell McGee

Randell McGee

Baritone

Custom-House Officer

Jacob Abrahamse

Jacob Abrahamse

Tenor

Street Vendor

Ivan Lopez-Reynoso headshot

Iván López Reynoso

Conductor

James Robinson headshot

James Robinson

Director

Allen-Moyer

Allen Moyer

Scenic Designer

Constance Hoffman

Constance Hoffman

Costume Designer

Duane Schuler headshot

Duane Schuler

Lighting Designer

David Zimmerman

David Zimmerman

Wig & Makeup Designer

Susanne Sheston

Susanne Sheston

Chorus Director

Willem Van Schalkwyd

Willem Van Schalkwyk

Children's Chorus Director

Director's Vision

JAMES ROBINSON

“Puccini Always Wins.”
by Michael Clive

James Robinson brings freshness to love’s old song.

James Robinson, director of this season’s new production of Puccini’s La bohème, first worked with the Santa Fe Opera more than thirty years ago. Since then he has emerged not only as one of the most sought-after directors in opera, but also as the general director of the Seattle Opera. What could he mean by his bold assertion that “Puccini always wins”?

La bohème has a perfect libretto,” notes Robinson. “He was a master dramatist. Many operas have great scripts that can work powerfully on the stage, but just a few have this concise, gem-like melding of text and music. Bohème and Onegin are prime examples.” With music that perfectly expresses the joys and travails of young love, La bohème is currently the popular favorite at major opera houses around the world.

“Regardless of whether an opera is a rarity or a repertory staple,” says Robinson, “I begin by assuming that nobody has seen it. It should be a fresh, first-time experience.” Keeping this in mind, he notes, helps him conceive a production anew rather than reviving timeworn tropes.

Robinson and his longtime design collaborator, Allen Moyer, created a production of La bohème in New York in 2000 that traveled widely, providing invaluable lessons in what works in this intimate drama. “We’ve copied some of our own best ideas,” Robinson notes, echoing a famous rule among composers: always steal from the best. But this season’s realization, set in 1920s Paris, is far different.

“Puccini’s music is already more modern than Murger’s stories,” notes Robinson. “By setting the opera in the inter-war period we can create a milieu with more edge, looking at things that were going on in the world … how creative people like Rodolfo and Mimí were living then. It helps us focus on the elements of everyday life, deepening ideas we take for granted. Like, why is Mimí carrying a candle? Are they living in a world of candlelight, or perhaps is their electricity is unreliable?”

In this instance, it’s not the devil that’s in the details … it’s the romance.

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