I don't know if he says it all with the title, but if so, I have to be very nuanced about this event.

Of course, La bohème, by Puccini, is one of the best operas of the Tuscan composer, and one of the favorites of the audience, has such a beautiful song, a proper orchestration and a simple and emotional libretto. Therefore, the most appropriate title to ensure the success of the beginning of the season. And it was certainly a success this first session of the 67 ABAO season.

On the other hand, the quality of this proposal for simple applause was behind it. The classic and simple production of the Teatro Massimo di Palermo provided a traditional but really effective vision of this opera. The Latin Quartier of Paris appeared with all its vitality, very well reproduced. Although it was a simple staging, or perhaps because of this uncomplicated mise en scène, our focus was on the action of the work and above all on music.

Pedro Halffter accurately directed the Euskadi Symphony Orchestra. He achieved a beautiful sound balance and painstakingly underlined all the arias. The Bilbao Opera Choir and the children's choir of the Bilbao Coral Society acted with great brilliance.

Finally, what would we say about the soloists, on one street, on the other. Perhaps the readers who were there will think that it is not fair to say so, because such beautiful voices had shrunk. And it's true. But in a dramatic play like La bohème, where all feelings and pulsations are reflected in both music and the environment, you cannot “sing well”. Moreover, I would say that it is more important to convey emotion than the vocal of perfection. Romanian tenor Teodor Ilincai has a nice and powerful voice, but he lacks expressiveness, and that's why he didn't reach the public. Our Ainhoa Arteta sang with ease, yes, but it gave the character a godly touch and we couldn't see or hear that young, naive Mimi. Pity. Soprano Jessica Nuncio, on the role of Musetta, sang well, the famous Quando m’en vo aria came very well. The rest of the soloists acted effectively.

At the end of this opera, I always cry. In this function, no.