Overview

Presents

La bohème

Music by Giacomo Puccini
Libretto by Giuseppe Giacosa and Luigi Illica

Projected titles designed by Kelley Rourke originally for The Glimmerglass Festival

#LabohemeWNO

In Italian with projected English titles

In memory of Calvin Cafritz

Welcome Letter

Dear Lovers,

We address this letter to lovers of love, lovers of Paris, of art, of music—and isn’t that just about all of us? We are thrilled to welcome you to La bohème, an opera we never tire of. It gives us not one, but two love stories: the tender, poignant pairing of Rodolfo and the doomed Mimì, and the carefree, tempestuous relationship of Musetta and Marcello. It also celebrates another kind of love: the close ties among a band of young artists who share each other’s triumphs and struggles, laughter, and tears. It is a story about a chosen family, and we think of everyone gathered in the theater tonight as our WNO family.

We hope you have seen the film Moonstruck. We love the scene when Ronny Cammareri (played by Nicholas Cage) persuades Loretta Castorini (Cher) to see a performance of La bohème with him. She is deeply moved, which allows him to make his case: “Loretta, I love you. Not like they told you love is, and I didn’t know this either, but love don’t make things nice—it ruins everything. It breaks your heart. It makes things a mess. We aren't here to make things perfect. The snowflakes are perfect. The stars are perfect. Not us. Not us! We are here to ruin ourselves and to break our hearts and love the wrong people and die. The storybooks are bullshit. Now I want you to come upstairs with me and get in my bed!” (If you haven’t yet seen the film, we won’t tell you what happens next, but perhaps you can guess.)

When we are young, we may imagine a storybook romance for ourselves, something as perfect and painless as starlight. As more experienced adults, we see the truth in Ronny’s assessment. The genius of La bohème is that it gives you all of it—the passion and idealism of youth, as well as the messiness, pain, and loss that inevitably come to us. Jonathan Larsen’s hit musical Rent transposes the story of La bohème to Manhattan’s East Village in the late ’80s/early ’90s. It asks us over and over to measure our time on earth not in minutes and hours, but in love.

Looking ahead, our next season explores even more faces of love. In Grounded, a fighter pilot struggles to balance her love for her family with her passion for her mission. Romeo and Juliet offers a classic love story that needs no introduction. With the return of our holiday opera, The Lion, the Unicorn, and Me, you have an opportunity to inspire a lifelong love of opera in the hearts of young people in your life. The three short operas that will premiere as part of American Opera Initiative include a story of passionate craftsmanship, an exploration of family tradition, and a post-apocalyptic rom-com. Songbird is a love letter to New Orleans jazz, and a story of starving artists that actually has a happy ending. Finally, Turandot offers a fable extolling the transformative power of love.

We look forward to gathering our family over and over next season, and for many seasons to come. For now, we close our season with Puccini’s story of friendship, love, and art to celebrate all that we care about in opera, as our gift to you.

With love,
Francesca and Tim

Patrons are requested to silence cell phones and other electronic devices during performances.

The taking of photographs and the use of recording equipment are not allowed in this venue.

Terms and Conditions

All events and artists subject to change without prior notice.

Cast

• Mimì
  • Gabriella Reyes*
    (May 13, 15, 19, 21, 24, and 27)
  • Amber Monroe‡
    (May 14 and 26)
• Musetta
  • Jacqueline Echols±
    (May 13, 15, 19, 21, 24, and 27)
  • Teresa Perrotta‡
    (May 14 and 26)
• Rodolfo
  • Kang Wang
    (May 13, 15, 19, 21, 24, and 27)
  • Kevin Punnackal‡
    (May 14 and 26)
• Marcello
  • Gihoon Kim*
    (May 13, 15, 19, 21, 24, and 27)
  • Jonathan Patton‡
    (May 14 and 26)
• Schaunard
  • Blake Denson*
    (May 13, 15, 19, 21, 24, and 27)
  • Justin Burgess‡
    (May 14 and 26)
• Colline
  • Peixin Chen
    (May 13, 15, 19, 21, 24, and 27)
  • Christian Simmons‡
    (May 14 and 26)
• Benoit/Alcindoro
  • Peter Rose*
    (May 13, 15, 19, 21, 24, and 27)
  • Samuel J. Weiser±
    (May 14 and 26)
• Officer
  
  • Spencer Adamson
• Customs Sergeant
  • Gustavo Ahualli
• Parpignol
  • Nathan Letourneau
• Prugne di Tours
  • David Artz
• Vo' la tromba
  • Aiden Brennan
  • Anais Stackel

Washington National Opera Orchestra
Washington National Opera Chorus and Corps Dancers
Washington National Opera Children’s Chorus

Conductor: Alevtina Ioffe*
Director: Peter Kazaras
Choreographer: Ben Wright

Associate Director and Intimacy Director: Sara E. Widzer
Original Production: Jo Davies
Original Set Designer: Lee Savage
Original Costume Designer: Jennifer Moeller
Hair, Wig, and Makeup Designer: David C. Zimmerman
Revival Lighting Designer: A.J. Guban
Supertitles: Kelley Rourke
Assistant Conductors: Michael Baitzer, Nicole Cloutier‡, Joy Schreier
Cover Conductor: William Long
Diction Coach: Ken Weiss
Chorus Master: Steven Gathman
Assistant Director: David Carl Toulson▲
Stage Manager: Rachel Henneberry*

* Washington National Opera Debut
± Alumnus of the Cafritz Young Artist Program
‡ Current member of the Cafritz Young Artist Program
▲ Washington National Opera AGMA Production Staff Member with 10 or more seasons of service

Synopsis

Part One

Rodolfo, a writer, burns his manuscript in an attempt to warm the garret he shares with Marcello, a painter. The philosopher Colline enters, closely followed by the musician Schaunard, who urges his friends to accompany him to the Latin Quarter for Christmas Eve festivities. Benoit, the landlord, attempts to collect the rent; the friends throw him out. Marcello, Schaunard, and Colline depart; Rodolfo says he will join them later. A young woman, Mimì, knocks at the door; her candle has gone out. After a series of accidents and small deceptions, the two search for her key in the garret; they find each other’s hands instead.

The Latin Quarter bustles with vendors, urchins, and revelers. Rodolfo buys a cap for Mimì and introduces her to his friends. Musetta, Marcello’s former lover, enters on the arm of the wealthy Alcindoro. Marcello seethes and tries to ignore her. Complaining of a pain in her foot, Musetta sends Alcindoro to buy her a new pair of shoes. She and Marcello immediately embrace. When the friends are unable to pay their bill, Musetta tells the waiter that Alcindoro will pay when he returns.

– Intermission –

Part Two

A few months later. Marcello is living with Musetta in a tavern. Mimì comes to tell him that Rodolfo has abandoned her. Marcello replies that he is sleeping inside, and urges her to leave before she is discovered. Rodolfo comes out and tells Marcello that he will leave Mimì. As she eavesdrops, Rodolfo confides his fears that his substandard living conditions are threatening her health. Mimì has a coughing fit; Rodolfo realizes she has heard everything.

Marcello goes back to the tavern to join Musetta. Left alone, Mimì and Rodolfo agree to stay together until the spring.

– Short Pause –

Back in the garret, some months later, Rodolfo tells Marcello that Musetta has taken a wealthy lover; Marcello fires back that Mimì, too, has improved her position. The men attempt to continue their work, but each is lost in thoughts of love. Schaunard and Colline enter. They pretend to enjoy a lavish feast, then clear the room for dancing. Musetta interrupts them; she has brought Mimì, who is deathly ill, to the garret. The friends agree to sell some of their meager possessions to buy medicine, leaving Mimì and Rodolfo alone to remember the happiness they once shared. Mimì falls asleep shortly after everyone returns, assuring Rodolfo that she feels better. He is the last to realize that she has died.

Program Notes

The Real Bohemians

“Today, as of old, every man who enters on an artistic career, without any other means of livelihood than his art itself, will be forced to walk in the paths of Bohemia. The greatest number of our contemporaries who display the noblest blazonry of art have been Bohemians, and amidst their calm and prosperous glory they often recall, perhaps with regret, the time when, climbing the verdant slope of youth, they had no other fortune in the sunshine of their twenty years than courage, which is the virtue of the young, and hope, which is the wealth of the poor.” —Henry Murger, Scènes de la vie de bohème

Henry Murger (1822–1861) knew the life of a starving artist well, because he lived it. (The French-born Murger began using the English spelling of his name, Henry vs. Henri, as an artistic statement.) He drew stories for Scènes de la vie de bohème, published in 1851, from characters he knew, setting much of the action at their popular Parisian hangout, Café Momus, a real establishment on the Right Bank. The café’s proprietor was sympathetic to struggling artists who often just needed a place to keep warm, sharing a single cup of coffee at a table as their concession to a purchase. (Not unlike the 21st century, laptop-toting writers who stake out a spot at the local coffee bar for wifi access.) Murger said of his friends, "they spent half the day in not eating and the other half in dying from the cold." (Not unlike the artists of post-World War I Paris, the setting of this production of La bohème, when some food rationing was still in place and coal for heating was scarce.)

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A Special Time In Paris: Costuming La bohème

La bohème, the timeless tale of a group of struggling young artists, has been reinterpreted countless times since its 1896 premiere. For this Washington National Opera production, which debuted in 2014, original costume designer Jennifer Moeller says, “the company wanted a production that felt traditional; at the same time, we wanted something that would be accessible for a modern audience.” The creative team eventually settled on the period just after World War I. “The men are wearing suits, so it is a little more contemporary, a little more relatable,” says Moeller. “It was also a special time in Paris—Hemingway was there, Picasso, Gertrude Stein, Modigliani. It was an artistically exciting time, but also a difficult one. The number of people who died from starvation and disease during this period exceeded the number of people killed on the battlefield. Modigliani died at 35, completely destitute, of tubercular meningitis.”

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—Kelley Rourke is the Artistic Advisor of the Washington National Opera’s American Opera Initiative

Debuting: New Bohemians

These performances of La bohème feature a number of WNO debuts, including conductor Alevtina Ioffe. As the new music director of Mikhailovsky Theatre in St. Petersburg, the Moscow native is the first woman to lead an important music institution in Russia. Also making their WNO debuts are three artists who are quickly making their marks internationally. We asked for their takes on who they might like to encounter in the realm of La bohème.

Gabriella Reyes (Mimì), an American-born soprano of Nicaraguan heritage, grew up listening to Metropolitan Opera broadcasts with her abuelita, and has sung the role of Musetta there.

This production is set in Paris in the period just after World War I, when the city was bursting with artists, writers, musicians, and designers who would go on to become household names. Who would you invite to your table at Café Momus?

I would love to have Miss Josephine Baker at our table at Café Momus. She was an early champion of diversity, equity, and inclusion. Always daring, she lived fearlessly, fought for civil rights as well as children’s rights. From the interviews I’ve seen, she has such a beautifully bright energy with a great sense of humor.

How do you define la vie de bohème, in terms of your character, or of the artist’s life today?

La vie de bohème is free of pretensions, an unorthodox lifestyle that challenges the social and political norm. Mimì has the courage to follow her own ideals and live on her own, which isn’t what most young women were doing during that time period. She finds her creative outlet embroidering flowers, and isn’t afraid to take the unconventional choice to introduce herself to Rodolfo. The choice to move in with Rodolfo before marriage is another choice that she makes that wasn’t normally acceptable during this time. She is a young woman making her own choices, living a life by her own means.

Gihoon Kim (Marcello), a baritone from South Korea, was named BBC Cardiff Singer of the World 2021, after earning acclaim with wins in the Operalia and International Tchaikovsky Competitions.

Who would you invite to your table at Café Momus?

I want to seat my parents in their youth. Before they became parents, they would have been young and passionately in love. I want to witness the happy times of my mother and father, not as a lead character, but as a waiter or citizen. In a nice Parisian cafe… Regardless of the East and the West, the lives of young people seem to be very similar, running around and playing, making passionate love...

How do you define la vie de bohème, in terms of your character, or of the artist's life today?

If you think about it now, the bohemian life is a life without measures that does not look at the future. They earn a day and spend a day, carpe diem itself. They are called YOLO people these days, right? It doesn't fit my current way of life. But apart from that, I think Bohemian is freedom. Free spirits produce free works, and they bring great novelty to the standardized world.

Blake Denson (Schaunard), a Kentucky native now based in Houston, is a baritone with "captivating dramatic interpretations” and “a sound that boomed to the back of the house,” according to OperaWire.

Who would you invite to your table at Café Momus?

If I was at Momus looking to be inspired by something/someone, I would sit and invite any and everyone to the table, because that’s the best way to learn. (Speaking as Blake, I am such an introvert I would honestly be at a table by myself in a corner somewhere).

How do you define la vie de bohème, in terms of your character, or of the artist's life today?

I believe it means to live a life of contentment. To live a life that, no matter if you are on the mountain top or in the valley, you can find true peace, joy, and satisfaction where you are,  stewarding over what you have here, until it is time for the next.

 A “Mutual Fund” For Opera

When we plan our seasons, we think not only about titles, but about productions. Sometimes we start from scratch, developing a concept and building new scenery and costumes to realize that vision, whether for a brand-new title or a beloved standard. Other times we choose an acclaimed existing production, either renting one developed by another company or going into our own stock of previous productions. I like to think of our stock of scenery and costumes as our portfolio. In these performances, the WNO revisits its own original production of La bohème, which debuted in 2014.

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—Francesca Zambello

Selected Readings

“Bohemia, bordered on the North by hope, work and gaiety, on the South by necessity and courage; on the West and East by slander and the hospital.” —Henry Murger

The Bohemia of which Murger wrote was not the geographical region that is now part of the Czech Republic, but a state of being. Learn more in these readings:

La Bohème: Scènes de la vie de bohème (by Henri Murger). The collection of stories that inspired Puccini’s opera is available as a free Ebook through Project Gutenberg, projectgutenberg.org.

Puccini: A Critical Biography (by Mosco Carner). First published in 1959 and reissued in numerous editions, Carner’s work is considered an important examination of the composer and his work.

Giacomo Puccini: La Bohème (by Arthur Groos and Roger Parker). Collected essays, including on the life of bohemians in Paris, the opera’s musical language, and its history.

Bohemian Paris: Picasso, Modigliani, Matisse, and the Birth of Modern Art (by Dan Franck). Stories of the influential and colorful personalities living and working in Paris during the early decades of the 20th century.

Garrets and Pretenders: Bohemian Life in America from Poe to Kerouac (by Albert Parry). Profiles of some of the famous, and not-so-famous, individuals living the unconventional life in the States.

In Appreciation: Calvin Cafritz

The WNO dedicates these performances of La bohème to the memory of a long-time friend, Calvin Cafritz, who died in January at the age of 91. He is remembered for his leadership in the area’s philanthropic, civic, and business communities throughout his lifetime. The Washington, D.C.-native served successively as director, board chairman, president and CEO, and chairman emeritus of the Morris and Gwendolyn Cafritz Foundation, established by his parents. Under his leadership, the Foundation has generously supported numerous causes and institutions, providing more than $507 million in grants in the past half century, $430 million in the year 2021 alone, to organizations including the John F. Kennedy Center for the Performing Arts, countless colleges, universities, and schools throughout the Washington area, and arts organizations, including The Phillips Collection and the National Gallery of Art.

He was a particular friend to the WNO, through the establishment of the Cafritz Young Artist Program, which provides support to singers on the verge of international careers. His love and dedication to the world of opera was richly reflected over the years in the warm welcome to their home he and his wife, Jane, offered to each year’s class of apprentices, making them feel special and valued at a crucial time in their lives and careers. Cafritz Young Artists are featured prominently in this run of  La bohème, in principal roles for performances on May 14 and 26. The WNO extends its heartfelt appreciation for the transformational impact of his legacy.

Meet The CYA Cast

Amber Monroe, soprano
Mimì
WNO History: The Cartography Project (Progeny of Perpetual Independence and Pretty Girl), 2021–2022; Il trovatore (Ines), The Passion of Mary Cardwell Dawson (Isabelle), 2022–2023
Past: Don Giovanni (Donna Elvira), Opera Columbus; Pagliacci (Nedda), El Paso Opera; Le nozze di Figaro (Countess Almaviva), Kentucky Opera; The Cunning Little Vixen (Rooster/Jay), The Glimmerglass Festival; Porgy and Bess (Clara), Opera Western Reserve; Castor and Patience (Clarissa), Cincinnati Opera; Turn of the Screw (Governess), University of Cincinnati College-Conservatory of Music

Teresa Perrotta, soprano
Musetta
WNO History: American Opera Initiative (Karen, Bubbie and the Demon), Elektra (Fifth Maid), 2022–2023
Past: A Midsummer Night’s Dream (Helena), Santa Fe Opera; The Ghosts of Versailles (Marie Antoinette), L’Opéra royal de Versailles; The Hours (Clarissa Vaughan, cover), The Philadelphia Orchestra; Falstaff (Alice Ford) Maryland Lyric Opera; Nabucco (Anna), Washington Concert Opera; Don Giovanni (Donna Anna, cover), Chautauqua Opera; Countess Maritza (Manja), Ohio Light Opera

Kevin Punnackal, tenor
Rodolfo
WNO History: Il trovatore (Ruiz), 2022–2023
Past: Lord of the Cries (Captain, cover), Santa Fe Opera; La rondine (Ruggero, cover), Houston Baptist University; Cendrillon (Le Baron de Pictordu), University of Oklahoma

Jonathan Patton, baritone
Marcello
WNO History: American Opera Initiative (The Demon, Bubbie and the Demon), 2022–2023
Past: A Thousand Acres (Ty, cover), Des Moines Metro Opera; L’elisir d’amore (Belcore), Lucia di Lammermoor (Enrico), and The Rape of Lucretia (Tarquinius), University of North Texas; L’inganno felice (Batone); Gianni Schicchi (Marco), Festival Napa Valley; Così fan tutte (Guglielmo), University of New Mexico

Justin Burgess, baritone
Schaunard
WNO History: American Opera Initiative (The Politician, What the Spirits Show), 2022–2023
Past: Carmen (Morales, cover) and Tristan und Isolde (Der Steuermann, cover), Santa Fe Opera; Sweeney Todd (Toby, cover) and Cendrillon (Baron Pictordu, cover), L’ île de Merlin (Zerbin), Il barbiere di Siviglia (Fiorello), Billy Budd (Billy), La bohéme (Schaunard),and Die Zauberflöte (Papageno), Wolf Trap Opera

Christian Simmons, bass-baritone
Colline
WNO History: Carmen (Zuniga), Come Home: A Celebration of Return (Soloist), 2021–2022; American Opera Initiative (Olodumare, Oshun), Blue (Policeman 3/Male Congregant 3), 2022–2023
Past: La bohème (Colline), Annapolis Opera; Southern Crossings (January), Barnard College; The Devil and Daniel Webster (Jabez Stone); The Wiz (Lion); Romeo et Juliette (Duke); Le nozze di Figaro (title role); L’incoronazione di Poppea (Seneca); Aida (King); Rigoletto (Sparafucile); La finta giardiniera (Nardo)

Samuel J. Weiser, bass-baritone
Benoit/Alcindoro
WNO History: A Concert of Comic Masterpieces (Pistola/soloist), American Opera Initiative (title role, Pepito), Eugene Onegin (Captain), La traviata (Marquis d’Obigny), The Lion, the Unicorn, and Me (Innkeeper/Ox/Shepard), Tosca (Jailer), 2018–2019; American Opera Initiative (Sam, Woman of Letters), Die Zauberflöte (Second Armed Man/Speaker), 2019–2020
Past: The Fairy Queen (Shakes, cover; ensemble), The Perfect American (Abraham Lincoln/Undertaker; ensemble), Le vin herbé (Bass three), and Elizabeth Cree (Solomon Weil/George Gissing), Chicago Opera Theater; Shalimar the Clown (Clumsy God), La bohème (Sergeant), Macbeth (Valet), Madama Butterfly (Bonze, cover), and La Clemenza di Tito (Publio, cover), Opera Theatre of Saint Louis

Meet The Creative Team

Alevtina Ioffe
Conductor
WNO History: WNO debut
Past: Die Zauberflöte, Il barbiere di Siviglia, Mikhailovsky Theatre; Swan Lake, Deutsch Oper Berlin; Yolanta, Mavra, Bayerische Staatsoper; Die Grossherzogin von Gerolstein, Les contes d’Hoffmann, Komische Oper Berlin; Le nozze di Figaro, Seattle Opera

Peter Kazaras
Director
WNO History: La bohème, 2014–2015; Le nozze di Figaro, 2016–2017; Il barbiere di Siviglia, 2017–2018
Past: Le nozze di Figaro and Turn of the Screw, Seattle Opera; The Ghosts of Versailles, Chautauqua Opera; Der Ring des Polykrates and La bohème, Dallas Opera; La bohème, LA Opera

Ben Wright
Choreographer
WNO History: La bohème, 2014–2015
Past: Don Giovanni, Metropolitan Opera; The Lost Thing, Boris Godunov, Royal Opera House London; Le nozze di Figaro, Knight Crew, Glyndebourne Festival; Cunning Little Vixen, Rigoletto, Grange Park Opera; Faust, Dead Man Walking, Macbeth, La vie Parisienne, La fanciulla del West, Malmö Opera 

Sara E. Widzer
Associate Director and Intimacy Director
WNO History: La fille du régiment (assistant director), 2016–2017; Aida (assistant director), 2017–2018; Silent Night (assistant director), 2018–2019
Past: Tannhäuser, Il trovatore, Aida, The Death of Orpheus (director), LA Opera; Semele, La Tragedié de Carmen (director), Opera Santa Barbara; Carmen (director), Opera Orlando; Der Ring des Polykrates (assistant director), Dallas Opera

Jennifer Moeller
Original Costume Designer
WNO History: La bohème, 2014–2015; Candide, 2017–2018
Past: Costume design for operas including Candide, LA Opera, Bordeaux, Toulouse, The Glimmerglass Festival; plus dozens of Broadway, off-Broadway, and regional productions

David C. Zimmerman
Hair, Wig, and Makeup Designer
WNO History: Aida, Alcina, Il barbiere di Siviglia, Candide, Don Carlo (hair and makeup designer), Little Prince (wig and makeup designer), 2017–2018; Eugene Onegin (hair and makeup designer), 2018–2019
Past: The (R)evolution of Steve Jobs, Candide, The Thirteenth Child, Santa Fe Opera; Elizabeth Cree, Opera Philadelphia; The Shining, Minnesota Opera; Così fan tutte, Lyric Opera of Kansas City; La traviata, Minnesota Opera

A.J. Guban
Revival Lighting Designer
WNO History: Penny, 2015–2016; Better Gods, 2016–2017; American Opera Initiative, 2016–2021, Don Giovanni, 2016–2017; WNO Galas 2017–2021; The Dictator’s Wife, 2017–2018; Proving Up, 2018–2019; Taking Up Serpents, 2019–2020; Come Home: A Celebration of Return, 2021–2022; Il trovatore; The Passion of Mary Cardwell Dawson, 2022–2023
Past: Goldilocks and the Three Dinosaurs (National Symphony Orchestra), Kennedy Center 50th Anniversary Concert on PBS, The Turn of the Screw (Opera Cleveland), Silvain (Opera Lafayette), A Tale of Two Cities (Synetic Theater), Champion revival (Opéra de Montréal, New Orleans Opera), La traviata revival (Atlanta Opera, Lyric Opera of Kansas City, Seattle Opera), West Side Story revival (Teatro di Cagliari)

David Carl Toulson
Assistant Director
WNO History: Don Giovanni, 2007–2008; La traviata, 2008–2009; Falstaff, 2009–2010; Un Ballo in Maschera, 2010–2011; Tosca, 2011–2012; Anna Bolena, 2012–2013; The Elixir of Love, Tristan und Isolde, 2013–2014; La bohème, 2014–2015; Appomattox, Lost in the Stars, 2015–2016; Le nozze di Figaro, 2016–2017; Il barbiere di Siviglia, 2017–2018; Tosca, 2018–2019
Past: Cunning Little Vixen, Dead Man Walking, Die Walküre, The Crucible, L’enfant et les sortilèges, Gianni Schicchi, Hansel and Gretel, Cendrillon, Miami Music Festival; Il barbiere di Siviglia, Opera Idaho; La finta giardinera, Temple University

Rachel Henneberry
Stage Manager
WNO History: WNO debut
Past: The Ring, Seattle Opera, San Francisco Opera; Dead Man Walking, Lyric Opera of Chicago; Blue, Seattle Opera; Carmen, Opera Colorado; La traviata, Wolf Trap Opera, Mozart Fest, Ravinia Festival, Dante 360, Athenaeum Center for Thought & Culture; Albert Herring, Chicago Opera Theater; The Life and Death(s) of Alan Turing, Chicago Opera Theater

Musicians

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