Bavarian State Opera tickets 14 February 2025 - La Bohème | GoComGo.com

La Bohème

Bavarian State Opera, Munich, Germany
All photos (11)
Select date and time
7 PM
From
US$ 105

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Munich, Germany
Starts at: 19:00
Acts: 4
Intervals: 1
Duration: 2h 40min
Sung in: Italian
Titles in: English,German

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Soprano: Angel Blue (Mimì)
Conductor: Carlo Rizzi
Orchestra: Bavarian State Orchestra
Choir: Children`s chorus of the Bayerische Staatsoper
Chorus: Chorus of the Bavarian State Opera
Soprano: Mirjam Mesak (Musetta)
Tenor: Pene Pati (Rodolfo)
Baritone: Sean Michael Plumb (Marcello)
Creators
Composer: Giacomo Puccini
Librettist: Giuseppe Giacosa
Poet: Henri Murger
Librettist: Luigi Illica
Director: Otto Schenk
Overview

All of Paris is magically transported onto the stage here. So beautiful you could cry!

Heartache, heartbreak, the whole nine yards – four starving artists – love in a shabby attic loft – the swank boulevards where people live life with a capital "L", but Mimi is destined to die. Her tiny hand: ice cold! Otto Schenk's incredibly opulent, eternally valid production continues to fascinate audiences. 

History
Premiere of this production: 01 February 1896, Teatro Regio, Turin

La bohème is an opera in four acts, composed by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger. The world premiere of La bohème was in Turin on 1 February 1896 at the Teatro Regio, conducted by the 28-year-old Arturo Toscanini. Since then, La bohème has become part of the standard Italian opera repertory and is one of the most frequently performed operas worldwide.

Synopsis

Act I
Poet Rodolfo and painter Marcello are sitting in their cold garret on Christmas Eve, freezing, hungry and flat broke as usual. To warm up the room just a little, Rodolfo burns a play script he had been working on. Downtrodden, Colline the philosopher returns home after finding the pawnshop closed for the holidays. Musician Schaunard, the final member of this quartet of friends, has been a bit more successful. He brings along food, wine and some money. The initially glum mood rapidly turns into one of great exuberance.

This, however, is rapidly interrupted by the arrival of the landlord Benoit, who demands his back rent. The friends give him some wine, causing the old man to forget the rent in his alcoholic haze and begin recounting tales of his romantic adventures. In a spasm of feigned outrage over the old man's "immorality" the four friends throw him out. Now they decide to continue partying at the Café "Momus". Only Rodolfo remains behind to complete a magazine article he is writing. At this point Mimí, their neighbor, appears and asks if she might relight her candle, which the wind had blown out. As Mimí is about to go, she loses the key to her room. Rodolfo, who has fallen in love with her, finds the key but doesn't tell Mimí. They tell one another the story of their lives and confess their love for one another.

Act II
In the Quartier Latin, outside the Café "Momus", colorful activity dominates the scene. Musetta, Marcello's former lover, show up with an elderly new admirer by the name of Alcindoro. When Musetta and Marcello lay eyes on one another again, their former love reawakens. Claiming to need a new pair of shoes that very minute, Musetta gets rid of her companion. The arrival of guard draws a huge crowd to the square. The friends take advantage of the confusion to disappear with the girl. When Alcindoro returns he has no alternative but to pick up the bill for everybody.

Act III
On a cold winter morning, Mimí comes to an inn on the edge of Paris to talk to Marcello, who is painting there. She is tortured by a terrible fit of coughing. She asks Marcello to help her, because Rodolfo has walked out on her, claiming jealousy. Rodolfo, however, tells his friend the real reason for what he did. He has left Mimí because he knows she is incurably ill, and he is too poor to look after her properly. Mimí, who has been listening in to this conversation steps out of her hiding place. Now she knows that she is doomed to die, and sadly bids him farewell. Marcello has meanwhile gotten into an argument with Musetta, who finally goes running off in a fury.

Act IV
Back in the garret, Rodolfo and Marcello are together again. They try to work, struggling to conceal their longing for Mimí and Musetta. Schaunard and Colline serve up a sparse meal, which nevertheless turns into some fairly merry pranks. Then Musetta appears with the terminally ill Mimí. All attempts to save her are in vain. While Rodolfo gathers new hope as they wait for the doctor, the friends notice that Mimí has already passed away. As it becomes clear to Rodolfo, he hurls himself despondently on the corpse of his beloved.

English translation by Donald Arthur

Place: Paris
Time: Around 1830.

Act 1

In the four bohemians' garret (Christmas Eve)

Marcello is painting while Rodolfo gazes out of the window. They complain of the cold. In order to keep warm, they burn the manuscript of Rodolfo's drama. Colline, the philosopher, enters shivering and disgruntled at not having been able to pawn some books. Schaunard, the musician of the group, arrives with food, wine and cigars. He explains the source of his riches: a job with an eccentric English gentleman, who ordered him to play his violin to a parrot until it died. The others hardly listen to his tale as they set up the table to eat and drink. Schaunard interrupts, telling them that they must save the food for the days ahead: tonight they will all celebrate his good fortune by dining at Cafe Momus, and he will pay.

The friends are interrupted by Benoît, the landlord, who arrives to collect the rent. They flatter him and ply him with wine. In his drunkenness, he begins to boast of his amorous adventures, but when he also reveals that he is married, they thrust him from the room—without the rent payment—in comic moral indignation. The rent money is divided for their evening out in the Quartier Latin.

Marcello, Schaunard and Colline go out, but Rodolfo remains alone for a moment in order to finish an article he is writing, promising to join his friends soon. There is a knock at the door. It is a girl who lives in another room in the building. Her candle has blown out, and she has no matches; she asks Rodolfo to light it. She is briefly overcome with faintness, and Rodolfo helps her to a chair and offers her a glass of wine. She thanks him. After a few minutes, she says that she is better and must go. But as she turns to leave, she realizes that she has lost her key.

Her candle goes out in the draught and Rodolfo's candle goes out too; the pair stumble in the dark. Rodolfo, eager to spend time with the girl, to whom he is already attracted, finds the key and pockets it, feigning innocence. He takes her cold hand (Che gelida manina—"What a cold little hand") and tells her of his life as a poet, then asks her to tell him more about her life. The girl says her name is Mimì (Sì, mi chiamano Mimì—"Yes, they call me Mimì"), and describes her simple life as an embroiderer. Impatiently, the waiting friends call Rodolfo. He answers and turns to see Mimì bathed in moonlight (duet, Rodolfo and Mimì: O soave fanciulla—"Oh lovely girl"). They realize that they have fallen in love. Rodolfo suggests remaining at home with Mimì, but she decides to accompany him to the Cafe Momus. As they leave, they sing of their newfound love.

Act 2

Quartier Latin (same evening)

A great crowd, including children, has gathered with street sellers announcing their wares (chorus: Aranci, datteri! Caldi i marroni!—"Oranges, dates! Hot chestnuts!"). The friends arrive; Rodolfo buys Mimì a bonnet from a vendor, while Colline buys a coat and Schaunard a horn. Parisians gossip with friends and bargain with the vendors; the children of the streets clamor to see the wares of Parpignol, the toy seller. The friends enter the Cafe Momus.

As the men and Mimì dine at the cafe, Musetta, formerly Marcello's sweetheart, arrives with her rich (and elderly) government minister admirer, Alcindoro, whom she is tormenting. It is clear she has tired of him. To the delight of the Parisians and the embarrassment of her patron, she sings a risqué song (Musetta's waltz: Quando m'en vo'—"When I go along"), hoping to reclaim Marcello's attention. The ploy works; at the same time, Mimì recognizes that Musetta truly loves Marcello. To be rid of Alcindoro for a bit, Musetta pretends to be suffering from a tight shoe and sends him to the shoemaker to get her shoe mended. Alcindoro leaves, and Musetta and Marcello fall rapturously into each other's arms.

The friends are presented with their bill. However, Schaunard's purse has gone missing and no one else has enough money to pay. The sly Musetta has the entire bill charged to Alcindoro. The sound of a military band is heard, and the friends leave. Alcindoro returns with the repaired shoe seeking Musetta. The waiter hands him the bill and, dumbfounded, Alcindoro sinks into a chair.

Act 3

At the toll gate at the Barrière d'Enfer (late February)

Peddlers pass through the barriers and enter the city. Mimì appears, coughing violently. She tries to find Marcello, who is currently living in a little tavern where he paints signs for the innkeeper. She tells him of her hard life with Rodolfo, who abandoned her the night before, and of Rodolfo's terrible jealousy (O buon Marcello, aiuto!—"Oh, good Marcello, help me!"). Marcello tells her that Rodolfo is asleep inside, and expresses concern about Mimì's cough. Rodolfo wakes up and comes out looking for Marcello. Mimì hides and overhears Rodolfo first telling Marcello that he left Mimì because of her coquettishness, but finally confessing that his jealousy is a sham: he fears she is slowly being consumed by a deadly illness (most likely tuberculosis, known by the catchall name "consumption" in the nineteenth century). Rodolfo, in his poverty, can do little to help Mimì and hopes that his pretended unkindness will inspire her to seek another, wealthier suitor (Marcello, finalmente—"Marcello, finally").

Out of kindness towards Mimì, Marcello tries to silence him, but she has already heard all. Her weeping and coughing reveal her presence, and Rodolfo hurries to her. Musetta's laughter is heard and Marcello goes to find out what has happened. Mimì tells Rodolfo that she is leaving him, and asks that they separate amicably (Mimì: Donde lieta uscì—"From here she happily left"); but their love for one another is too strong for the pair to part. As a compromise, they agree to remain together until the spring, when the world is coming to life again and no one feels truly alone. Meanwhile, Marcello has found Musetta, and the couple quarrel fiercely about Musetta's flirtatiousness: an antithetical counterpoint to the other pair's reconciliation (quartet: Mimì, Rodolfo, Musetta, Marcello: Addio dolce svegliare alla mattina!—"Goodbye, sweet awakening in the morning!").

Act 4

Back in the garret (some months later)

Marcello and Rodolfo are trying to work, though they are primarily talking about their girlfriends, who have left them and found wealthy lovers. Rodolfo has seen Musetta in a fine carriage and Marcello has seen Mimì dressed like a queen. The men both express their nostalgia (duet: O Mimì, tu più non torni—"O Mimì, will you not return?"). Schaunard and Colline arrive with a very frugal dinner and all parody eating a plentiful banquet, dance together and sing, before Schaunard and Colline engage in a mock duel.

Musetta suddenly appears; Mimì, who took up with a wealthy viscount after leaving Rodolfo in the spring, has left her patron. Musetta found her that day in the street, severely weakened by her illness, and Mimì begged Musetta to bring her to Rodolfo. Mimì, haggard and pale, is assisted onto a bed. Briefly, she feels as though she is recovering. Musetta and Marcello leave to sell Musetta's earrings in order to buy medicine, and Colline leaves to pawn his overcoat (Vecchia zimarra—"Old coat"). Schaunard leaves with Colline to give Mimì and Rodolfo some time together. Mimì tells Rodolfo that her love for him is her whole life (aria/duet, Mimì and Rodolfo: Sono andati?—"Have they gone?").

To Mimì's delight, Rodolfo presents her with the pink bonnet he bought her, which he has kept as a souvenir of their love. They remember past happiness and their first meeting—the candles, the lost key. Suddenly, Mimì is overwhelmed by a coughing fit. The others return, with a gift of a muff to warm Mimì's hands and some medicine. Mimì gently thanks Rodolfo for the muff, which she believes is a present from him, reassures him that she is better and falls asleep. Musetta prays. Schaunard discovers that Mimì has died. Rodolfo rushes to the bed, calling Mimì's name in anguish, weeping helplessly as the curtain falls.

Venue Info

Bavarian State Opera - Munich
Location   Max-Joseph-Platz 2

The Bavarian State Opera or the National Theatre (Nationaltheater) on Max-Joseph-Platz in Munich, Germany, is a historic opera house and the main theatre of Munich, home of the Bavarian State Opera, Bavarian State Orchestra, and the Bavarian State Ballet.

During its early years, the National Theatre saw the premières of a significant number of operas, including many by German composers. These included Wagner’s Tristan und Isolde (1865), Die Meistersinger von Nürnberg (1868), Das Rheingold (1869) and Die Walküre (1870), after which Wagner chose to build the Festspielhaus in Bayreuth and held further premières of his works there.

During the latter part of the 19th century, it was Richard Strauss who would make his mark on the theatre in the city in which he was born in 1864. After accepting the position of conductor for a short time, Strauss returned to the theatre to become principal conductor from 1894 to 1898. In the pre-War period, his Friedenstag (1938) and Capriccio were premièred in Munich. In the post-War period, the house has seen significant productions and many world premieres.

First theatre – 1818 to 1823
The first theatre was commissioned in 1810 by King Maximilian I of Bavaria because the nearby Cuvilliés Theatre had too little space. It was designed by Karl von Fischer, with the 1782 Odéon in Paris as architectural precedent. Construction began on 26 October 1811 but was interrupted in 1813 by financing problems. In 1817 a fire occurred in the unfinished building.

The new theatre finally opened on 12 October 1818 with a performance of Die Weihe by Ferdinand Fränzl, but was soon destroyed by another fire on 14 January 1823; the stage décor caught fire during a performance of Die beyden Füchse by Étienne Méhul and the fire could not be put out because the water supply was frozen. Coincidentally the Paris Odéon itself burnt down in 1818.

Second theatre – 1825 to 1943
Designed by Leo von Klenze, the second theatre incorporated Neo-Grec features in its portico and triangular pediment and an entrance supported by Corinthian columns. In 1925 it was modified to create an enlarged stage area with updated equipment. The building was gutted in an air raid on the night of 3 October 1943.

Third theatre – 1963 to present
The third and present theatre (1963) recreates Karl von Fischer's original neo-classical design, though on a slightly larger, 2,100-seat scale. The magnificent royal box is the center of the interior rondel, decorated with two large caryatids. The new stage covers 2,500 square meters (3,000 sq yd), and is thus the world's third largest, after the Opéra Bastille in Paris and the Grand Theatre, Warsaw.

Through the consistent use of wood as a building material, the auditorium has excellent acoustics. Architect Gerhard Moritz Graubner closely preserved the original look of the foyer and main staircase. It opened on 21 November 1963 with an invitation-only performance of Die Frau ohne Schatten under the baton of Joseph Keilberth. Two nights later came the first public performance, of Die Meistersinger von Nürnberg, again under Keilberth.

Important Info
Type: Opera
City: Munich, Germany
Starts at: 19:00
Acts: 4
Intervals: 1
Duration: 2h 40min
Sung in: Italian
Titles in: English,German
Top of page