It was my “fête” day on November 8th, and what better way to celebrate than with the divine Anna Netrebko herself at the Opéra de Monte-Carlo! For someone like me, who has followed her across the world as devotedly as a Taylor Swift fan on tour, seeing her in Monte Carlo was nothing short of a festival. I’ve seen her in the world’s greatest theaters—Milan, Vienna, Paris, Berlin, Barcelona, Budapest, Rome, Naples, you name it. And yet, after all these years, there was something especially magical about finally experiencing La Bohème with her on this stage, revisiting a role she’s made iconic.

Seeing Anna Netrebko as Mimì was like meeting a cherished memory face to face. I’d watched her on DVD as Mimì alongside Rolando Villazón over and over 15 years ago, and tonight it was as though that essence, that raw artistry, had leaped from screen to stage, filling the entire theater. She has an uncanny ability to immerse herself fully in a role, and Mimì is no exception. Though I still think of her as the definitive Lady Macbeth, she proves with every note of Mimì’s anguish and tenderness that this is a role she wears just as naturally. By the end, when Mimì’s tragic fate unfolded, it felt like all of Monte Carlo shared in her suffering.

But let’s not forget the rest of the cast, who contributed so richly to this unforgettable evening. Yusif Eyvazov was her Rodolfo, and if I’m honest, I thought he’d peaked vocally a couple of years ago. But no—he continues to grow, bringing depth and maturity to the role. He’s shed the pressure of a star tenor and now seems fully committed to his artistry, delivering a Rodolfo that felt both authentic and effortless.

Nino Machaidze as Musetta was another standout. I hadn’t seen her since a Traviata performance in Berlin during the height of COVID, and I’d missed her lively stage presence. She embodies Musetta with flair, turning what could be seen as a secondary role into a vital, unforgettable character. Her costume was perfectly matched to her energy, and every moment she sang, she reminded the audience that Musetta is a force to be reckoned with in her own right. And, funny story—I once set up an interview with her in Berlin for my “Dad’or’Ma” series on Instagram and YouTube. I was young and nervous, and right in the middle of our conversation, my camera died! I was so embarrassed that I never told her what happened. So, Nino, if you ever read this, know that I’d love another chance to interview you, with a camera that actually works this time!

And to finish this 5-star cast, a little word about the Frenchman of the evening, namely Florian Sempey who has just released his album, and well it was a very good interpretation. I who do not often have the opportunity to see him at work on Italian and even more so Puccini, it was a very nice surprise!

A special mention goes to the conductor, Mr Armiliato, who held the orchestra with an iron grip. His reputation as a master is well-earned, and watching him was a pleasure in itself—each note felt deliberate, each phrase perfectly crafted under his direction.

Finally, Jean-Louis Grinda’s staging was the cherry on top of a spectacular evening. The set design was exactly what every opera lover dreams of: beautiful costumes, elegant gowns, and three distinct, immersive scenes that took us right into the heart of La Bohème’s Paris. The staging was cohesive and evocative; it was clear that this production was built with care and passion.

Thank you, Opéra de Monte-Carlo, for the invitation and the warm welcome. This opera house, so full of splendor and history, may be imposing at first, but as soon as the lights dim and the orchestra strikes up, its true, intimate beauty emerges.

CAST :

Mimì – Anna Netrebko

Musetta – Nino Machaidze

Rodolfo – Yusif Eyvazov

Marcello – Florian Sempey

Schaunard – Biagio Pizzuti

Colline – Giorgi Manoshvili

Benoît – Fabrice Alibert

Alcindoro – Matteo Peirone

Parpignol – Vincenzo di Nocera

A sergeant – Vincenzo Cristofoli