There are not many operas left today that truly make me cry.
Not because they are less powerful, but because I see a lot of opera, I consume a lot of it, and when you know the endings by heart, when you know exactly when the blow will land, you inevitably become a little less sensitive over time.

And yet… La Bohème is different.

No matter how many times I see it, La Bohème still makes me cry. Really cry. And once again, on Saturday January 17th, 2026, at the Teatro dell’Opera di Roma, it happened. Tears, emotions, the whole package. This opera remains absolutely magnificent.

Every time friends ask me which opera they should see first, I often answer La Traviata or Carmen. And they are, of course, perfect choices. But every time I forget to mention La Bohème, I realise my mistake. Like Tosca, La Bohème is one of those operas that are simply perfect to enter the world of opera: direct, emotional, human, and devastating in the most beautiful way.

This performance also marked my first opera weekend of the year. I chose to start 2026 the Italian way: La Bohème in Rome on Saturday, followed by the premiere of Nabucco in Naples on Sunday. A pretty ideal way to begin the year, if you ask me.

The production in Rome was signed by Davide Livermore, a stage director I truly admire. Unlike others, Livermore has the rare ability to blend modern elements with tradition without betraying the work. The result is always elegant and intelligent. Last night, the staging was visually stunning: large video screens, period costumes, a clear respect for the libretto, a magnificent chorus, and singers fully committed to their roles. Everything felt coherent, alive, and meaningful.

Saimir Pirgu was a very pleasant surprise. The last time I saw him, as Don José in Carmen in Zurich, I was left with mixed feelings, mainly because of the French diction, which made the role harder to follow. But last night, he truly impressed me. His Rodolfo was sincere, emotional, and beautifully sung. On stage, he shared a very convincing chemistry with Carolina López Moreno, and together they formed a couple you genuinely believe in. Their emotional investment was palpable, and it worked.

Carolina López Moreno was, for me, one of the highlights of the evening. Her Mimì was touching, modest, fragile, and deeply moving. Her entrance aria was sung beautifully, with sensitivity and control, and judging by the audience’s reaction at the end of the performance, she clearly won the applause meter. A very strong and heartfelt interpretation.

A special word must go to Nicola Alaimo, a baritone I admire greatly. It was the first time I saw him in this role, as I am more used to hearing him in Rossini and more overtly comic parts. Here, he found the perfect balance between seriousness and humour. Alaimo has that rare ability to bring warmth, humanity, and a natural sense of comedy without ever forcing it. His voice remains magnificent — rich, generous, and deeply Italian — and his presence on stage is always a joy. A true artist, and a singer who elevates every production he is part of.

As for Desirée Rancatore as Musetta, I must admit I was slightly disappointed. While vocally solid, her interpretation lacked a bit of madness, extravagance, and boldness. Musetta is an exuberant, provocative, almost vulgar character at times, and here the portrayal felt a little too restrained. A missed opportunity, perhaps, to push the character further.

Finally, a big bravo to Jader Bignamini in the pit. He conducted the orchestra with authority and elegance, clearly respected by both musicians and singers. The musical line was beautifully shaped, even if, at times, I personally would have liked a slightly faster tempo — but that is purely a matter of taste. Overall, it was a masterful and very musical direction.

Once again, thank you to the Teatro dell’Opera di Roma. The welcome is always warm, the staff is kind and professional, and it is always a genuine pleasure to return to this house. Rome never disappoints — especially when La Bohème is on the bill.

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CAST

Rodolfo

Saimir Pirgu 

Schaunard

Alessio Arduini

Mimì

Carolina López Moreno                      

Marcello

Nicola Alaimo

Colline

William Thomas 

Musetta

Desirée Rancatore 

Benoît/Alcindoro

Matteo Peirone

Parpignol

Giordano Massaro

Sergente dei doganieri

Alessandro Fabbri

Doganiere

Andrea Jin Chen 

Venditore ambulante

Luis Armando Fuentes Bustos

Orchestra e Coro del Teatro dell’Opera di Roma

con la partecipazione della Scuola di Canto Corale del Teatro dell’Opera