Jakub Hrůša
Music Director Designate
Oliver Mears
Director of Opera
OPERA IN FOUR ACTS
Friday 17 January 2025 7.30pm
The 712th performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.
The performance lasts approximately 2 hours 35 minutes, including one interval
40 minutes
20 minutes
30 minutes
30 minutes
35 minutes
Giacomo Puccini
Giuseppe Giacosa
Luigi Illica
after Henri Murger’s novel Scènes de la vie de Bohème
Speranza Scappucci
Richard Jones
Ben Mills
Stewart Laing
Mimi Jordan Sherin
Sarah Fahie
Danielle Urbas
Olga Kulchynska
Stefan Pop
Mikhail Timoshenko
Simona Mihai
Jolyon Loy
Aleksei Kulagin
Eddie Wade
Wyn Pencarreg
Andrew Macnair
John Morrissey
Thomas Barnard
Madeleine Mitchell
Renata Skarelyte
Olle Zetterström
Dawid Kimberg
Luke Price
Sophie Bradley
Paul Dennison
Jamie Francis
Nicholas Frentz
Richard Gittins
Anthony Kurt-Gabel
Andrew Leishman
Davy Quistin
Dana Rogers
Sebastian Rose
Addis Williams
Timo Willman
Royal Opera Chorus
William Spaulding
Orchestra of the Royal Opera House
Sergey Levitin
Celeste Gattai
Alison Rayner
Anna Samant
Rosalind Waters
Tamsin Dalley
Maria Jones
Dervla Ramsay
Jennifer Westwood
Jonathan English. Russell Ablewhite
Andrew Friedhoff
Elliot Goldie
Andrew Mackenzie-Wicks
James Birchall
Gavin Horsley
Simon Preece
Jonathan Wood
Cardinal Vaughan School
Greycoat School
Scott Price
Katy Ambrose
Patrick Milne
Peggy Wu
Mark Packwood
Catriona Beveridge
William Spaulding
Cecilia Stinton
Valeria Racco
Peggy Wu is a Jette Parker Artist
HM The King
Jakub Hrůša
Oliver Mears
Peter Mario Katona
Netia Jones
Cormac Simms
The opera is set in Paris
AN ATTIC IN THE LATIN QUARTER, CHRISTMAS EVE
Rodolfo and Marcello complain about the bitter cold. They need to light their stove: Marcello suggests using a chair, but Rodolfo offers the manuscript of the play he is writing. Colline arrives and the remaining acts of the play are burnt.
Schaunard arrives with wood, food and wine. He explains that an Englishman engaged him to play his violin to hasten the death of a parrot. The friends decide to go and eat in the Latin Quarter but are interrupted by Benoît, their landlord, who has come for the rent. They ply him with wine and Benoît boasts of his sexual prowess. The bohemians pretend outrage at Benoît’s immorality and push him out.
Marcello, Colline and Schaunard head to Café Momus, leaving Rodolfo behind to finish an article. There is a knock at the door. It is a girl who asks for a light for her candle. She feels faint from climbing the stairs. As she is leaving her candle flickers out again and she realizes that she has lost her key. Rodolfo’s candle also goes out and they search for her key in the moonlight. Rodolfo takes the girl’s icy hand and tells her of his life as a poet. The girl tells him her name, Mimì, and describes her simple life as a flower embroiderer. Schaunard, Colline and Marcello shout up to Rodolfo to hurry. Mimì asks if she may join them at the Café Momus. Rodolfo suggests they might stay in, but eventually they leave together singing of their love.
THE LATIN QUARTER
Rodolfo and Mimì wander through the Christmas Eve crowds. Rodolfo introduces Mimì to his friends. When Mimì shows her new friends the bonnet Rodolfo has brought her, Marcello expresses cynicism about romance.
As they propose a toast, Marcello’s ex-girlfriend Musetta appears, accompanied by Alcindoro, her rich admirer. Agitated at being ignored by Marcello, Musetta launches into a song – to provoke and seduce him. She complains of a painful foot and dispatches Alcindoro to buy new shoes. The bill for supper arrives, but the bohemians have already spent their money. Musetta places their bill on Alcindoro’s plate. A marching band arrives, and the bohemians leave with Musetta. Alcindoro returns and is presented with the bill.
OUTSIDE THE BARRIÈRE D’ENFER
Workers arrive from out of town to enter the city. From inside a tavern comes the voice of Musetta. Mimì enters, ill and racked with coughing. She asks for Marcello. He tells her that he and Musetta are now living at the inn and that Rodolfo turned up in the night. Mimì explains that Rodolfo’s jealousy is destroying their relationship and he wants to leave her. Marcello advises Mimì to go, but she hides nearby.
Rodolfo comes out of the tavern and says he will break up with Mimì: her flirting has incensed him. Eventually, however, he reveals the real reason for their separation: she is so ill that his miserable poverty offers her nothing but the prospect of death. They hear Mimì crying and coughing. As Rodolfo hurries to her, Musetta’s laugh is heard and Marcello goes to see what she is doing. Mimì says farewell to Rodolfo and asks him to send on her possessions. She proposes that he keep her bonnet as a memento of their love. Marcello and Musetta quarrel and separate. Rodolfo and Mimì decide to postpone their separation until the spring.
THE ATTIC, AUTUMN
Marcello and Rodolfo taunt each other about their ex-lovers: Rodolfo has seen Musetta in a fine carriage and Marcello has seen Mimì dressed like a queen. They pretend not to miss the girls but then admit that they do. Schaunard and Colline arrive with bread and a herring and the four eat and amuse each other.
Suddenly Musetta enters. She has brought Mimì, who is desperately ill: Musetta explains that she met her in the street and that Mimì begged to be taken to Rodolfo. Mimì rallies and greets the friends. Musetta instructs Marcello to sell her earrings to pay for medicine and a doctor. Colline leaves to pawn his coat. Mimì, alone with Rodolfo, expresses her boundless love for him. He shows her the bonnet and they reminisce about their first meeting. The others return with a muff and medicine, promising that a doctor will come. Mimì dies unnnoticed while they are preparing her medicine. Colline arrives with money from the pawnbroker, but it is too late.
Suitable for age 5+
Children under the age five are not permitted into our theatres. Children over age five must have their own ticket and sit next to an accompanying adult.
Sung in Italian with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium.
Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing Trust
With the generous support of Aline Foriel-Destezet Season Principal
Young RBO is generously made possible by Sir Lloyd and Lady Dorfman OBE, The Bunting Family, Sir Simon and Lady Robey, The John Browne Charitable Trust and The Laidlaw Opera Trust
We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.
Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.
Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.
Please do not place any personal belongings on the ledges in front of you.
Only bottled water and ice cream purchased from the premises can be taken into the auditorium.
If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.
Smoking and vaping are not permitted anywhere on the premises.
The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.
Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.
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