Gabriella Reyes as Mimì and Jose Simerilla Romero as Rodolfo. “La Bohème” photos by Don Ipock for Lyric Opera of Kansas City.
The Lyric Opera of Kansas City launches the season (its last under the exceptional 15-year leadership of General Director Deborah Sandler Kemper) with one of the world’s most popular and most-produced operas, “La Bohème.”
The Lyric’s production is an absolute pleasure, featuring a charming and gifted young cast, superb comic direction by Garnett Bruce, stellar production, and spirited, richly colored accompaniment by the KC Symphony Orchestra (conducted by Christopher Allen).
With its enduring theme of starving but idealistic young artists, “La Bohème”’ is the precursor of the blockbuster Broadway musical “Rent” and Oscar-winning jukebox musical movie “Moulin Rouge.” The relatable storyline, likable characters and some of the most luscious arias written for the stage also make “La Bohème” an ideal starter opera.
The setting couldn’t be more classic: love and loss in a picturesque 19th century Paris. Not to worry about the loss part — Bruce’s interpretation is mercifully upbeat. Requisite complications (break-ups, terminal tuberculosis) are lightly handled. For most of its compact running time, the opera is an energetic romp of a rom-com, with fast lift-off, effervescent set pieces, and a satisfyingly tragic ending.
We open on four chill and fun-loving bros, living the bro artist life in their gorgeously decrepit Latin Quarter bro garrett (set design by R. Keith Brumley). They are the poet Rodolfo (Jose Simerilla Romero), painter Marcello (Luke Sutliff), philosopher Colline (Raúl Morales Velazco) and violinist Schaunard (Jon Dirk Ross).
It is a freezing Christmas eve, and the young artists have as little money and firewood as might be expected. All good though. Shivering before the empty stove, the carefree quartet have holiday cheer to spare. Their rollicking “Questo Mar Rosso” kick-starts the evening in jolly spirit.
Unlike earlier operatic conventions of mythological or Biblical settings, Giacomo Puccini wanted to tell the story of real people in the real world. He had himself lived in crushing poverty during his years as a conservatory student and struggling composer. His full sympathies, as well as his warmth and humor, are with his young characters.
Our lead couple, Rodolfo (Jose Simerilla Romero) and Mimì (Gabriella Reyes), meet cute and fall hard. Earnest arias and flirty hijinks ensue. Romero is the total package, with dashing stage presence and a warm, vibrant and supple tenor. His “Che gelida manina” grounds Rodolfo’s instant infatuation in mature tenderness.
The gifted young soprano Gabriella Reyes is a winning Mimí, all flashing eyes and shy smile. Her luscious phrasing and shining tone, tinged with a poignant timbre, suggest depths to Mimí’s innocence.
As headstrong coquette Musetta, Cadie J. Bryan gives a dazzling and distinctive rendition of Act II’s “Quando m’en vo,” one of opera’s best known arias. She is well supported by the full cast’s well-orchestrated frolics and light-hearted shenanigans. In a scene packed with entertaining bits, Luke Sutliff gets some of the evening’s biggest laughs as Musetta’s long-suffering, much put-upon lover Marcello. Paul Chwe MinChul An shows off agile comedy and a full, rumbling bass in the double role of the blustering landlord Benoit and buffoonish sugar daddy Alcindoro.
With a galloping plot, not to mention galloping consumption, Puccini keeps the pathos rolling. Act III gives us snowy melancholy and Mimí’s anguished “O buon Marcello, aiuto!” In the final act, reunited too late, the young lovers give a heartbreaking performance in the deathbed duet “Sono andati,” with Reyes particularly rich and radiant in tone. This Bohemian Rhapsody is everything one would wish — stunningly staged, sublimely sung and piercingly beautiful. A brilliant beginning to the Lyric season.
Reviewed September 19, 2026
Lyric Opera of Kansas City
La Bohème
Remaining performances
7:30PM, Friday, September 25, 2026
2:00PM, Sunday, September 27, 2026
