presents Giacomo Puccini’s

LA BOHÈME
an opera in four acts

directed by Douglas Anderson
conducted by Filippo Ciabatti

Productions: June 6, June 8, June 12, June 14, 2025

Click on each date or visit our EVENTS PAGE for more information.

Tickets go on sale to members on April 7 and to the general public on April 14.

Under the age of 26? Check out our Opera Under 26 program to learn how to get free tickets to the opera!

FRIDAY, JUNE 6 – OPENING NIGHT + PROSECCO RECEPTION

6:30 pm – Pre-Show talk, location to be announced

7:30 pm – LA BOHÈME, Town Hall Theater, Middlebury

Post Production – Prosecco Celebration: Open to all, light refreshments served, Prosecco available for 21+, N/A option available.

SUNDAY, JUNE 8 – MATINEE

1:00 pm – Pre-Show talk, location to be announced

2:00 pm – LA BOHÈME, Town Hall Theater, Middlebury

THURSDAY, JUNE 12

6:30 pm – Pre-Show talk, location to be announced

7:30 pm – LA BOHÈME, Town Hall Theater, Middlebury

SATURDAY, JUNE 14 – MATINEE

1:00 pm – Pre-Show talk, location to be announced

2:00 pm – LA BOHÈME, Town Hall Theater, Middlebury

Chaz’men Williams-Ali
Rodolfo

Chaz’men Williams-Ali’s 2024-25 Season includes First Prisoner/Florestan (c) Fidelio at Washington National Opera, soloist in a special project titled “My Brother’s Keeper” with New York Festival of Song, his Puccini recital with Chicago Opera Theatre, his debut in Mahler’s Das Lied von der Erde with Wisconsin Youth Symphony, and his debut as Raymond Santana Central Park Five at Detroit Opera. Recent highlights include Cavaradossi Tosca at Cedar Rapids Opera, Nate Highway 1 USA at Los Angeles Opera, Rodolfo La Bohème at Florentine Opera and at Kentucky Opera, his Metropolitan Opera debut as Zorn Die Meistersinger and Spinner (c) Fire Shut Up in My Bones, a role he inaugurated in the original production at Opera Theater of St Louis in 2019. He sang Narraboth Salome at Madison Opera, and Der Prinz Rusalka at Theater & Orchester Heidelberg in Germany where he also appeared as Pinkerton Madama Butterfly, Florestan, Canio Pagliacci, and Tebaldo I Capuleti e i Montecchichazmenwilliamsali.com

Emily Michiko Jensen
Mimí

Japanese-American soprano Emily Michiko Jensen has been praised for her “theatrical instincts and intriguingly versatile instrument.” Last season, she joined Hawai’i Opera Theatre as Mimi (La bohème) and Borderlands Arts Foundation as Musetta. Emily was a 2023-24 Emerging Artist at Boston Lyric Opera, where she covered Cio-Cio San in Madama Butterfly. She is a 2023 career grant recipient of the Olga Forrai Foundation. In 2022, she returned to Chautauqua Opera to cover the title role of Tosca. She also sang Angel More and covered Susan B. Anthony (The Mother of Us All). While a Resident Artist at Pensacola Opera, she sang First Lady and covered Pamina (Die Zauberflöte), and performed Wagner’s Die Wesendonck lieder at the Opera Center.

Emily is thrilled to return to OCM as an alumna of their Young Artist Program. She was last seen in their virtual opera “Completing the Picture” during the pandemic. EmilyMichikoJensen.com

Spencer Reichman
Marcello

Spencer Reichman is a talented baritone from Austin, Texas. In 2024, he joined the Florentine Opera as Biscroma Strappaviscere in Viva la Mamma, returned to New Orleans Opera as Sciarrone in Tosca, sang the title role in Zozobra: The Revenge at the Lensic Performing Arts Center, and was heard as Le Baron de Pictordu in Cendrillon at Knoxville Opera. In 2023, he covered Ophémon in The Anonymous Lover and Orpheus in Aucoin’s Eurydice at Boston Lyric Opera, sang the Huntsman in Rusalka and Sacristan in Tosca, with the Santa Fe Opera, Germont in La traviata with Shreveport Opera, made a debut as Mr. Ford in Falstaff with Salt Marsh Opera and sang Paris in Roméo et Juliette with Opera San Antonio. Role highlights include Sharpless in Madama Butterfly with Central City and Shreveport Operas, Sprecher in Magic Flute with Pensacola Opera, Schaunard in La bohème with New Orleans Opera Association, and the title role in Gianni Schicchi with Loyola Opera Theatre. Spencer has also sung with Opera Saratoga, Nashville Opera, Central City Opera, Chautauqua Opera, Des Moines Metro Opera, and the Crested Butte Music Festival. spencerreichman.com

Chelsea Basler
Musetta

Grammy Award-nominated soprano Chelsea Basler continues to make her mark in an array of operatic roles and is praised for her “luminous voice” with its “easy soaring range” and “wonderful acting.” This season she will sing the role of Musetta in La bohème with Charleston Opera Theater and Opera Company of Middlebury, sing the soprano solo in Elijah with the AVM Singers and sing High Priestess in Aida and cover Julie Jordan in Carousel with Boston Lyric Opera. She most recently was a featured soloist in a concert with The Providence Singers, covered the title role in Aucoin’s Eurydice with Boston Lyric Opera, and made her role debut as Fiordiligi in Così fan tutte with Newport Classical. Ms. Basler enjoys a strong relationship with Boston Lyric Opera, which she initially joined as an emerging artist during the 2013–2014 season. Recent roles include High Priestess in Aida, Musetta in La bohème, Lola in Cavalleria rusticana, and Moira in the East Coast premiere production of Poul Ruder’s The Handmaid’s Tale. chelseabasler.com

Max van Wyck
Schaunard

A native Vancouverite, Baritone Max van Wyck’s love for performing and his passion for music has led him across Canada, through Toronto to the L’Opéra de Montréal, where he was thrilled to continue maturing as an artist before moving to Europe. After singing non-stop for 18 months in numerous productions in Germany, he relocated back to the United States to be with his wife and puppy. Max is excited to be singing back in North America, with contracts across the United States for the 2024/25 season. He started off singing in Le Nozze de Figaro, with Buffalo Unlimited Opera, making his New York City debut in Carmen with Lighthouse Operabefore moving into the production of Gianni Schicchi with Opera West in New Mexico, and in Romeo et Juliette, with Bel Cantanti in Washington DC. He is excited to be finishing off his season here in beautiful Vermont and staging this amazingly popular opera in such a gorgeous setting! maxvanwyck.com

Younggwang Park
Colline

Younggwang Park is a talented young bass from South Korea, whose impressive vocal abilities have earned him numerous accolades. He holds a Bachelor of Music degree from Seoul National University and a Master’s degree from The Juilliard School. In 2024, he sang Sarastro in Die Zauberflöte and Benoit/Colline in La bohème with Opera San Jose. Additional roles include Gianni Schicchi, Diarte in Erismena, and Pastore in Orfeo at the Santa Fe Opera and Mercurio in Atalanta and Joe in Later the Same Evening at The Juilliard School. Park’s competition successes include winning the Metropolitan Opera Laffont Competition (Georgia District) in 2022, 3rd in the Southeast Region of the Metropolitan Opera Laffont Competition in 2023, an Encouragement Award at the Giulio Gari Vocal Competition and 2nd at the Opera at Florham International Vocal Competition. Most recently, he won the Metropolitan Opera Laffont Competition (New York District) and the Opera Index Vocal Competition. insigniaartists.com/artist/younggwang-park

James Demler
Alcindoro & Benoit

Bass-baritone James Demler is known for his “versatile and tender” portrayals with “dark, imposing tones” in repertory spanning the operatic, oratorio, concert, and popular music genres (The New Criterion, Boston Musical Intelligencer). In the 2023-2024 season, Mr. Demler joined Boston Lyric Opera to sing Alidoro in La Cenerentola, showing “vocal gravitas…he gained audiences precisely through a charming clumsiness similar to Merlin in The Sword in the Stone(Operawire). He made his Opera Orlando debut as Vodnik in Rusalka and joined the Rhode Island Civic Chorale & Orchestra in the title role in Elijah. In the current season, he returns to the Metropolitan Opera covering Benoit and Alcindoro in La bohème and appears in the foley chamber opera Silent Light with National Sawdust. He will debut the role of Morris in the West Coast premiere of Adoration with Los Angeles Opera, sing Monterone in Rigoletto with Pacific Opera Victoria, and sing Benoit and Alcindoro with Opera Company of Middlebury.  Next season, he will sing Bartolo in Le nozze di Figaro with Amarillo Opera. jamesdemler.com

Orlando Montalvo Avalo
Parpignol

Tenor Orlando Montalvo Avalo is elated to return to OCM! His diverse performance background spans opera, musical theater, and oratorio. Recent highlights include performing the role of Spoletta in Tosca with New Orleans Opera and a Messiah performance with the Fort Wayne Philharmonic. Last season at OCM, he portrayed Dormont in La Scala di Seta and a Peasant in La Fille du Regiment. He holds vocal performance degrees from LSU and Rhode Island College.

Act I

Christmas Eve. A small garret overlooking the snowy rooftops of 19th-Century Paris at night.

The painter Marcello reflects on the gloominess of his current work, a painting of the Red Sea, while his friend, the poet Rodolfo, laments the frigid chill of their small garret and the fact that no fires burn in their stove. He resolves to warm the place with his latest play. As he lights it on fire, their friend, the philosopher Colline, enters. The rest of the play is quickly consumed by flame. Their friend, the musician Schaunard, returns with money and an assortment of goods he earned in the charge of a nobleman. The landlord Benôit enters, demanding their rent, which is three months overdue. They provide him with a continuous flow of wine until he drunkenly admits to extramarital affairs, at which point the friends kick him out. They then resolve to visit Café Momus, but Rodolfo says he will join them shortly; he still has to write a few more lines of an article. Soon after his friends leave, there is a knock at the door. A woman’s candle has gone out and she needs help getting home. He opens the door, and a beautiful young woman enters. Rodolfo helps her to a chair, when she suddenly turns pale and faints. Rodolfo revives her by sprinkling some water on her head, then lights her candle. As she is about to leave, she realizes that she has lost her key. She and Rodolfo look for it together. He finds it but pretends not to notice, secretly slipping it into his pocket. As they search in the dark, their hands meet, and he warms her cold little hand in his as he sings to her of his poetry and of the hope of love that has been born within him. She introduces herself as Mimì, a seamstress. Rodolfo’s friends call out for him from below, and he tells them to go ahead without them; he’ll join them soon, with a companion. Mimì and Rodolfo profess their love for each other as they slowly leave the garret.

Act II

Café Momus.

Rodolfo and Mimì arrive at Café Momus, and Rodolfo buys her a small pink bonnet that she has wanted for months. They sit to eat, and Rodolfo introduces her to his friends. They all approve, though Marcello comments on the poisonous nature of love. As they all drink a toast, a woman’s boisterous laughter is heard from offstage: Musetta, Marcello’s old lover. She is followed by her rich patron, Alcindoro. She notices Marcello’s presence and wants to make him jealous, so she causes a scene, despite Alcindoro’s protestations. She sings a seductive waltz about love, which Marcello pretends to ignore. When her waltz doesn’t work, she gets up and screams, complaining that her shoe is too tight. She demands that Alcindoro go fetch her a new pair. Marcello can bear no more, and throws himself into Musetta’s arms. As the pair embrace, a waiter brings the check, which they cannot afford. Musetta tells the waiter that Alcindoro will pay for it, and she, Mimì, Rodolfo, Marcello, Schaunard, and Colline disappear into the crowd as a marching band passes by.

Act III

A small, snowy town on the outskirts of Paris. Dawn.

Mimì bids a customs officer to tell Marcello to meet her outside. Marcello emerges from an inn where he and Musetta have been staying under the employment of the innkeeper, and Mimì, racked with fits of violent coughing, begs him for help: she knows Rodolfo loves him, but he is torn apart by jealousy and accuses her of infidelity. Marcello advises her to leave him, and she agrees, but wonders how she can do so. Just then, Rodolfo enters, and Mimì hides. Rodolfo tells Marcello that Mimì is unfaithful, but Marcello asks what is really troubling him. Rodolfo confesses that he feels guilty: Mimì is gravely ill and will die soon. His garret is so small and cold that it is only worsening her illness and hastening her death. Mimì is seized by a coughing fit, and Rodolfo, startled by her presence, rushes to her, assuring her that he was overreacting. Musetta laughs coquettishly from inside the inn, prompting Marcello to storm off and confront her. Mimì tells him that they must leave each other, but that there should be no rancor between them. Musetta and Marcello exit the inn, hurling insults at each other as Marcello accuses Musetta of flirting with other men. Mimì and Rodolfo tenderly embrace and resolve to stay together until springtime comes: it is too depressing to be alone in the winter.

Act IV

Rodolfo’s garret. Springtime.

Rodolfo is working on a new poem, and Marcello, a new painting. Rodolfo tells Marcello he recently saw Musetta with a wealthy patron, and Marcello feigns indifference. Marcello tells Rodolfo that he has seen Mimì with a viscount, and Rodolfo reacts similarly. Neither man is able to work; they both miss their lovers terribly. They both sing of their sadness and their longing for the two women they love. Schaunard and Colline enter, carrying food. The four of them begin eating, dancing, and laughing. Suddenly, Musetta bursts through the door, and announces that Mimì is following her, too weak to climb the stairs. Rodolfo and his friends fetch Mimì from the doorway and support her to the bed. Musetta explains that she had heard Mimì had left the viscount and was dying. Musetta sought her out, and found her on the street. She said she wanted to die near Rodolfo. Mimì happily greets Rodolfo and his friends, and assures Marcello of Musetta’s goodness. There is no food in the garret, and Mimì says that her hands are so cold; she needs a muff. Musetta gives her earrings to Marcello and instructs him to pawn them to pay for a doctor. She comes with him to buy a muff for Mimì. Colline takes off his coat, which he has worn faithfully for so long, and goes to sell it for medicine. He tells Schaunard that he should leave Mimì and Rodolfo alone, and the two exit. Mimì sits up in the bed and passionately embraces Rodolfo. She tells him she was only pretending to be asleep so they could be alone together. She confesses her deep, infinite love for him. Rodolfo produces the pink bonnet he bought for her, and the two reflect sadly on the night they first met. She begins coughing violently, and Schaunard bursts in. Mimì assures them that she’s fine, and Rodolfo begs her to rest. Marcello and Musetta return, followed by Colline. Marcello says the doctor will come soon. Musetta gives Mimì a muff, and Mimì thanks her for her generosity. Rodolfo weeps at her bedside, but Mimì comforts him, assuring him that she is always with him. She slowly drifts off. Musetta prays to the Virgin Mary to save Mimì’s life. Schaunard checks on Mimì, then whispers in horror to Marcello: she’s dead. Rodolfo sees the stricken expressions of everyone else and asks what is wrong. Marcello hugs him and tells him to take heart. Rodolfo sobs in despair, calling out Mimì’s name.

OCM recommends the following audio recording of La Bohème:

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