‘First come, first served’ is just one of many clichés suggesting an event occurring first will probably trump similar events that have the misfortune to be ‘pipped at the post’! Such was the bitter experience of the Italian opera composer, Ruggero Leoncavallo (1857-1919) of I Pagliacci fame. He had enjoyed enormous success with this one-act opera, which premièred in Milan in 1892, establishing himself as a prominent figure on the Italian opera scene and soon becoming acquainted and very friendly with another rising star, Giacomo Puccini (1858-1924). Legend has it that it was an unfortunate coffee date in a café in Milan in March 1893 that led to their subsequent dispute and, as they say – cliché alert – the rest is history.

Over their cappuccinos – or whatever they were drinking – it soon became apparent that they were working on the same material for their next operas. Puccini had enjoyed enviable success with his critically acclaimed Manon Lescaut in 1893 and had become interested in the very popular work, Scènes de la Vie de Bohème by French writer Henri Murger, a play co-written with Théodore Barrière, based on Murger’s own fictional work Scènes de Bohème (1851). Leoncavallo himself had created a libretto based on Murger’s novel published in installments in a French periodical. Soon there evolved a rather vicious dispute between the two composers concerning whether Leoncavallo had offered the libretto to Puccini the year before with Puccini rejecting it, exhibiting no interest in the subject. Leoncavallo now assumed that Puccini’s refusal was cause to conceal the fact that he had been secretly working on his own version of the material.

Enraged, Leoncavallo utilised his connections with the local press to air his accusations, claiming that Puccini had confessed to him that he had begun to work on the opera only after Leoncavallo had started. Puccini responded magisterially: ‘Let him compose. I will compose. The audience will decide.’ What seems to have occurred is that Leoncavallo had indeed offered Puccini a libretto on the subject about a year before the controversy as he was not intending to create his own opera using this material. However, Puccini turned it down without even looking at it as he was busy with other projects. A year later, after having read the novel, Puccini commissioned librettist Luigi Illica for a scenario and asked his publisher, Giulio Ricordi, to enquire about the rights. These events suggest that Puccini had not considered this subject earlier. Indeed, if he had secured the rights, it would have prevented Leoncavallo from using the novel. However, Ricordi discovered that the novel was in the public domain and so two versions of La Bohème began their unequal journey with Puccini’s opera premièring in 1896 and, fatally for its future, Leoncavallo’s La Bohème a year later.

Puccini’s La Bohème is a constant in the top-ten, frequently shown operas staged in any given year, the first part of his all-conquering trilogy which also includes Tosca (1900) and Madama Butterfly (1904). He learned his craft with two early operas: Le Villi (1884) and Edgar (1889). La Bohème is a finely crafted work with two pairs of lovers whose relationships are the central focus. They are supported by a delightful pair of bohemian friends who contribute much throughout the work, most movingly during the tragic denouement.

It has been claimed by some (rather extravagantly it must be said) that the third act might be the most perfect in all of opera, and from the opening chords, repeated at the end of the act, it contains some of the most moving and dramaturgically effective music Puccini ever wrote. Here, the doomed love of Mimi and Rodolfo find sublime expression. This is contrasted with the acerbic but heartwarming and all-too-human interactions of Musetta and Marcello, which punctuate the events. Musically it consists of duets organically evolving into trios and quartets interspersed with deeply touching solo moments, soaring lyricism that never loses momentum but allows the churning emotions of the four characters to emerge.

Gail Edwards’s production has been part of Opera Australia’s repertory since 2011. It has always divided audiences: many admire the strikingly atmospheric Weimar-era sets and costumes, particularly in Act Two, while others see aspects of this approach as an unnecessary indulgence. Whether changing the location from the 1850s Quartier Latin to the 1930s, with scenes resembling the television series Berlin Babylon, adds much to the enjoyment of the opera remains debatable. As someone who instinctively distrusts seeing Nazi kitsch employed gratuitously, I had not warmed initially to this production, but some of the offending aspects have been substantially toned down over the years with nary a swastika in sight (although the uniforms in Act Three still clearly evoke Nazism). The prominent topless ladies in the café scene are now mostly discretely covered up – times have changed! La Bohème is an opera that can survive virtually any staging; most of the interest naturally lies in the changing cast of performers who inhabit these engaging characters and their wonderful music.

Olivia Cranwell as Mimì and Kang Wang as Rodolfo (courtesy of Opera Australia)

Olivia Cranwell and Kang Wang are superb as Mimi and Rodolfo. Cranwell impressed greatly as a powerfully lyrical Giorgetta in Puccini’s Il Tabarro in 2024, as well as giving by all accounts an excellent performance of Sieglinde in the third cycle of Opera Australia’s Brisbane Ring in 2023. Here she reveals a voice well suited to the range of colours and emotions the role demands. Mimi is certainly one of the most sympathetic of all operatic characters and Cranwell was excellent in charting Mimi’s tragic journey. There is a warmth and fullness to the tone that has a steely element when necessary; this is Puccini after all, with his frequent full orchestration.

Born in China, the Australian-Chinese tenor Kang Wang sang Rodolfo in the 2020 revival of this production and again in 2022. Rodolfo is beloved of lyric tenors and Wang soon revealed his burnished tone and warm middle register, while displaying the necessary Italianate ringing high notes including a superlative high C in ‘Che gelida manina’ – an aria that evokes much expectation and is one of the great tenor showpieces in the repertoire. This is a splendid voice with a gleaming quality throughout the range, tireless through the whole of this demanding role. Technically, the voice seems perfectly placed, projecting effortlessly. He has an engaging stage persona and the tragic moments in Act Four were full of sincerity and ringing intensity. This was some of the most impressive singing heard in the Joan Sutherland theatre for many a day.

Musetta and Marcello provide much of the spice in the opera. Rachelle Durkin won three prestigious vocal competitions in Australia before heading off to the Metropolitan Opera’s Lindemann program. She quickly established herself at the Met and has enjoyed a significant career ever since. She portrayed a feisty Musetta with a dramatically appropriate brittleness revealing the insecurities of the character, immediately impressing with her ebullient ‘Quando me’n vo’ in Act One and possessing the vocal attributes for the full range of this delightfully mercurial character. She was matched by OA stalwart Luke Gabbedy as Marcello – their fiery exchanges in Act Three were a highlight. Gabbedy has sung a range of signature baritone roles this year for OA and remains one of the most reliable and impressive performers in the country with a darkly sonorous, sumptuous tone, a resounding top register, and commanding stage presence. He does full justice to Marcello’s warmly humane and sympathetic music.

Shane Lowrencev (Schaunard) and David Parkin (Colline) provided much of the energy and humour in the Bohemian quartet, with Parkin singing a heartfelt and sonorous farewell to his coat in Act Four: ‘Vecchia zimarra, senti’ is a moving vocal highlight for many. Completing a uniformly strong cast were Andrew Moran (Benoit/Alcindoro), Clifford Plumpton (Officer), Malcolm Ede (Sergeant), and Benjamin Rasheed (Parpignol).

Rachelle Durkin as Musetta (courtesy of Opera Australia)

This revival of the Edwards production is directed by Danielle Maas with costumes by Julie Lynch and lighting by John Rayment and the staging was fluidly energetic, with surging momentum when necessary. Erina Yashima hails originally from Hanover and after studies in Berlin has established herself as a sought-after and highly versatile conductor. She has a wide-ranging repertoire, and within the first few bars revealed a sure grasp of Puccini’s unmistakable idiom. Many, if not most conductors will somewhat reluctantly confess to finding Puccini’s operas challenging to conduct as they require split-second flexibility, elegant phrasing and musicality, and iron-clad coordination with the stage. Yashima certainly possesses these attributes, and the fine orchestral playing contributed greatly to an enjoyable performance of this great work.

The Opera Australia Chorus and Children’s Chorus were up to their usual dependable and excellent standard, creating a particularly glorious sound in the festivities in Café Momus in Act Two.

The last few months have been successful for Opera Australia with four excellent productions in the repertory that have brought opera of a high standard to Sydney audiences and encourage the perception that the company is well set for its next phase. It is good to see the extensive utilisation of the depth of talent among young and more established Australian singers.

So, what ultimately happened to Leoncavallo’s opera? Ironically, it enjoyed a much more positive reception than Puccini’s work at its première but soon was eclipsed by its predecessor. It is a fine work and several good recordings are available, but the overwhelming triumph of Puccini’s opera means that it is highly unlikely that this unfortunate work will ever receive the success and esteem it fully deserves.

La Bohème (Opera Australia) continues until 20 September 2025. Performance attended: August 23.