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La bohème Tickets

» Home    » Florence Opera Theatre    » La bohème
 
 
La bohème

Venue: Opera di Firenze

 
Opera di Firenze
Viale Fratelli Rosselli, 7
Firenze
 
All dates
Season 2019
 
Season 2020
 

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Next performance (see season calendar above for other dates)
La bohème
Sat 14 December 2019
Stalls 1
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 100 € Add to cart
 
Stalls 2
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 80 € Add to cart
 
Stalls 3
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 65 € Add to cart
 
Stalls 4
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 50 € Add to cart
 
 
La bohème
Tue 17 December 2019
Stalls 1
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 100 € Add to cart
 
Stalls 2
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 80 € Add to cart
 
Stalls 3
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 65 € Add to cart
 
Stalls 4
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 50 € Add to cart
 
 
La bohème
Thu 19 December 2019
Stalls 1
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 100 € Add to cart
 
Stalls 2
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 80 € Add to cart
 
Stalls 3
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 65 € Add to cart
 
Stalls 4
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 50 € Add to cart
 
 
 
Event details
 
Composer: Giacomo Puccini

Synopsis

 

Act 1

In the four bohemians' garret

Marcello is painting while Rodolfo gazes out of the window. They complain of the cold. In order to keep warm, they burn the manuscript of Rodolfo's drama. Colline, the philosopher, enters shivering and disgruntled at not having been able to pawn some books. Schaunard, the musician of the group, arrives with food, wine and cigars. He explains the source of his riches: a job with an eccentric English gentleman, who ordered him to play his violin to a parrot until it died. The others hardly listen to his tale as they set up the table to eat and drink. Schaunard interrupts, telling them that they must save the food for the days ahead: tonight they will all celebrate his good fortune by dining at Cafe Momus, and he will pay.

The friends are interrupted by Benoît, the landlord, who arrives to collect the rent. They flatter him and ply him with wine. In his drunkenness, he begins to boast of his amorous adventures, but when he also reveals that he is married, they thrust him from the room—without the rent payment—in comic moral indignation. The rent money is divided for their evening out in the Quartier Latin.

Marcello, Schaunard and Colline go out, but Rodolfo remains alone for a moment in order to finish an article he is writing, promising to join his friends soon. There is a knock at the door. It is a girl who lives in another room in the building. Her candle has blown out, and she has no matches; she asks Rodolfo to light it. She is briefly overcome with faintness, and Rodolfo helps her to a chair and offers her a glass of wine. She thanks him. After a few minutes, she says that she is better and must go. But as she turns to leave, she realizes that she has lost her key.

Her candle goes out in the draught and Rodolfo's candle goes out too; the pair stumble in the dark. Rodolfo, eager to spend time with the girl, to whom he is already attracted, finds the key and pockets it, feigning innocence. He takes her cold hand (Che gelida manina – "What a cold little hand") and tells her of his life as a poet, then asks her to tell him more about her life. The girl says her name is Mimì (Sì, mi chiamano Mimì – "Yes, they call me Mimì"), and describes her simple life as an embroiderer. Impatiently, the waiting friends call Rodolfo. He answers and turns to see Mimì bathed in moonlight (duet, Rodolfo and Mimì: O soave fanciulla – "Oh lovely girl"). They realize that they have fallen in love. Rodolfo suggests remaining at home with Mimì, but she decides to accompany him to the Cafe Momus. As they leave, they sing of their newfound love.

 

Act 2

Quartier Latin

A great crowd, including children, has gathered with street sellers announcing their wares (chorus: Aranci, datteri! Caldi i marroni! – "Oranges, dates! Hot chestnuts!"). The friends arrive; Rodolfo buys Mimì a bonnet from a vendor, while Colline buys a coat and Schaunard a horn. Parisians gossip with friends and bargain with the vendors; the children of the streets clamor to see the wares of Parpignol, the toy seller. The friends enter the Cafe Momus.

As the men and Mimì dine at the cafe, Musetta, formerly Marcello's sweetheart, arrives with her rich (and elderly) government minister admirer, Alcindoro, whom she is tormenting. It is clear she has tired of him. To the delight of the Parisians and the embarrassment of her patron, she sings a risqué song (Musetta's waltz: Quando me'n vo' – "When I go along"), hoping to reclaim Marcello's attention. The ploy works; at the same time, Mimì recognizes that Musetta truly loves Marcello. To be rid of Alcindoro for a bit, Musetta pretends to be suffering from a tight shoe and sends him to the shoemaker to get her shoe mended. Alcindoro leaves, and Musetta and Marcello fall rapturously into each other's arms.

The friends are presented with their bill. Schaunard's purse has gone missing and no one else has enough money to pay. The sly Musetta has the entire bill charged to Alcindoro. The sound of a military band is heard, and the friends leave. Alcindoro returns with the repaired shoe seeking Musetta. The waiter hands him the bill and, dumbfounded, Alcindoro sinks into a chair.

 

Act 3

At the toll gate at the Barrière d'Enfer (late February)

Peddlers pass through the barriers and enter the city. Mimì appears, coughing violently. She tries to find Marcello, who is currently living in a little tavern where he paints signs for the innkeeper. She tells him of her hard life with Rodolfo, who abandoned her the night before, and of Rodolfo's terrible jealousy (O buon Marcello, aiuto! – "Oh, good Marcello, help me!"). Marcello tells her that Rodolfo is asleep inside, and expresses concern about Mimì's cough. Rodolfo wakes up and comes out looking for Marcello. Mimì hides and overhears Rodolfo first telling Marcello that he left Mimì because of her coquettishness, but finally confessing that his jealousy is a sham: he fears she is slowly being consumed by a deadly illness (most likely tuberculosis, known by the catchall name "consumption" in the nineteenth century). Rodolfo, in his poverty, can do little to help Mimì and hopes that his pretended unkindness will inspire her to seek another, wealthier suitor (Marcello, finalmente – "Marcello, finally").

Out of kindness towards Mimì, Marcello tries to silence him, but she has already heard all. Her weeping and coughing reveal her presence, and Rodolfo hurries to her. Musetta's laughter is heard and Marcello goes to find out what has happened. Mimì tells Rodolfo that she is leaving him, and asks that they separate amicably (Mimì: Donde lieta uscì – "From here she happily left"); but their love for one another is too strong for the pair to part. As a compromise, they agree to remain together until the spring, when the world is coming to life again and no one feels truly alone. Meanwhile, Marcello has found Musetta, and the couple quarrel fiercely about Musetta's flirtatiousness: an antithetical counterpoint to the other pair's reconciliation (quartet: Mimì, Rodolfo, Musetta, Marcello: Addio dolce svegliare alla mattina! – "Goodbye, sweet awakening in the morning!").

 

Act 4

Back in the garret (some months later)

Marcello and Rodolfo are trying to work, though they are primarily talking about their girlfriends, who have left them and found wealthy lovers. Rodolfo has seen Musetta in a fine carriage and Marcello has seen Mimì dressed like a queen. The men both express their nostalgia (duet: O Mimì, tu più non torni – "O Mimì, will you not return?"). Schaunard and Colline arrive with a very frugal dinner and all parody eating a plentiful banquet, dance together and sing, before Schaunard and Colline engage in a mock duel.

Musetta suddenly appears; Mimì, who took up with a wealthy viscount after leaving Rodolfo in the spring, has left her patron. Musetta found her that day in the street, severely weakened by her illness, and Mimì begged Musetta to bring her to Rodolfo. Mimì, haggard and pale, is assisted onto a bed. Briefly, she feels as though she is recovering. Musetta and Marcello leave to sell Musetta's earrings in order to buy medicine, and Colline leaves to pawn his overcoat (Vecchia zimarra – "Old coat"). Schaunard leaves with Colline to give Mimì and Rodolfo some time together. Mimì tells Rodolfo that her love for him is her whole life (aria/duet, Mimì and Rodolfo: Sono andati? – "Have they gone?").

To Mimì's delight, Rodolfo presents her with the pink bonnet he bought her, which he has kept as a souvenir of their love. They remember past happiness and their first meeting—the candles, the lost key. Suddenly, Mimì is overwhelmed by a coughing fit. The others return, with a gift of a muff to warm Mimì's hands and some medicine. Mimì gently thanks Rodolfo for the muff, which she believes is a present from him, reassures him that she is better and falls asleep. As Musetta prays, Mimì dies. Schaunard realizes that Mimì has died. Rodolfo becomes aware that something is wrong. He rushes to the bed, calling Mimì's name in anguish, and weeps helplessly.

 
Program details
 

Conductor: Ivan Ciampa
Director: Bruno Ravella
Costumes: William Orlandi
Light Designer: Fiammetta Baldiserri


Mimì: Valeria Sepe
Rodolfo: Vincenzo Costanzo
Marcello: Alessandro Luongo
Orchestra and Choir of the Maggio Musicale Fiorentino
Choir Director: Lorenzo Fratini

 
Venue
 
Opera di Firenze
 

The project for the new Opera di Firenze was realised on a part of the city that, until now, was marginal, which today hosts important and prestigious public institutions. The area provided for its construction is along the line that separates the Florence  "green" (the Cascine park starts precisely from via Fratelli Roselli), from the historical and central part of Florence. In this way the project plays a delicate integration role between the different parts of the city. This ambitious objective was achieved through the realization of a vast system of open areas that are pedestrian accessable and at various points link up, putting in process the new spaces for the two auditoriums and outdoor cavea. The system of the artificial stage, established from the building's accessable roofing, connects with that natural of the Cascine through an inclined pedestrian level that south west crosses the Macinante channel.  The grouping together of these spaces and locations expressly dedicated to music, describes a site of great urban and scenic value, a system of terraces and open spaces bluntly "Tuscan", destined to unite town planning, architectural and visual with the immediate surrounding buildings and the entire city of Florence.


 

On a local context scale, the new project is designed to realise a large European class cultural complex, the Park of Music and Culture, containing the auditorium's awe inspiring spaces and services connected with the important pre-existing Leopolda, even to establish a new urban centrality dedicated to cultural and musical activities, giving at the same time response to a functional set up and a symbolic complex.

 

On an architectural scale, the project is designed to guarantee the best attributes of a first class musical complex, through a performance range of extreme distinction and absolute excellence at the opera and concert level, from chamber to rock, in a flexible and multi-purpose complex with multiple potential.

 

The principal design is inspired by an architectural clarity: a sort of large platform, an inclined plinth where the two large halls music are inserted and the enigmatic volume of the tower. A project that presents a majestic massività, moderated by the existence of a dense network of internal and external paths consisting of ramps, terraces and enclosed spaces, that, dimensioned on a human scale, returns the project to the architectural scale conformity. All the internal public spaces are serviced from the sweeping foyer, which is accessable through the area below the  large urban projecting roof or, coming from Parco delle Cascine, through the glass wall underneath the inclined space of the large hall.

 

The cavea is able to contain more than 2,000 spectators. It is positioned on the theatre's roof, an integration and conclusion of the extended system of squares, terraces and lookouts. Its usage however is not only relegated to the temporary nature of performances, but is extended throughout the entire day, seasons and year. Its terraces of "stone" are designed as real and actual "urban living rooms", alternated with sections treated to small gardens, offering a use continuous and free to the public. The adjoining bar-cafeteria-restaurant complex supports the structure's function adapted to an 'en plein air' lifestyle.  The cavea's location at the base of the large tower's mass also provides additional structural functionality, finding on the large wall above a vast surface for projections, able to sustain any large spectacular event.

 

The large hall of 1,800 seats is contained inside an inclined stereo-metric space, intergrated within the inclined ascending floor.

 

The form adopted is "horseshoe", traditional but innovative in its design influence, contained between the two  perimiteral distribution bands of stairs and ramps, that ensure a distribution function and contribute to the detachment of the walls from the casing, for an improved acoustic output.

 

The realization of the new Opera House fitted out with the most innovative and technical scenery equipment and the endowment of a modern and efficient auditorium established for the city of Florence, the indispensable premise of belonging to the international circuit of cultured music, be it for the performance of classical and contemporary music, where Italy has historically held undisputed supremacy. The shape of the hall is conceived, as for a musical instrument, with the objective to ensure the best acoustic result.

 

The hall's arrangement includes a broad stalls area, directly accessible from the foyer, and only a single balcony level, accessible from the distribution system along the hall. In the two lateral portions, obtained from the continuation of the balcony level towards the stage, there are boxes, with a small area located behind for the reception of guests.

 

The stage, conforming in shape and dimensions to international standards, is designed to accommodate at the centre of the stage the performance and in the two side pockets, up to two stagings ready to be moved during the intervals. The handling of the scenery occurs horizontally through the use of mobile platforms that are mounted on trolleys.

 

Another unique aspect of the new Opera House of Florence comes from the stage's dimensional flexibility, that can accommodate theatrical performances with a stage depth double that permitted by traditional Italian and European theaters.

 

In the new project we are systematically striving to overcome the false dialectic between antique and new, between classic and modern, in the belief that architecture can reconquer the debate with context and history, beyond styles, through the ability to recontextualise work through materials, colours and textures. The Cipollino marble that covers the volumes of the new theatrical complex; the baked enamel of the great "urban lantern" of the tower; the gold used for the curved walls of the large and majestic foyer are all materials, textures and colours belonging to the historical tradition of Medician architecture.


THEATRE SPACES 

 

SPACE FOR THEATRICAL ACTIVITIES  - 21186.09 sqm

PUBLIC SPACE  - 13301.60 sqm

DEPOSITS - 2198.58 sqm

OFFICES - 2711.32 sqm

ROOMS TECHNICAL - 5651.50 sqm

UNDERGROUND PARKING - sqm 1.2394,0

NET TOTAL SURFACE - 57443.09 sqm

THEATRE OPERA - total room capacity: 1800 seats

Stage "T" surface - 2,624 sqm
Main Stage - 416 sqm
Proscenium - 18x12 - 14x8
Orchestra pit 45 sqm - 108-150

AUDITORIUM - capacity: 1100 seats

OUTDOOR CAVEA  - capacity : 2000 seats

Overall volume mc. 360,000

 
 
LATEST NEWS
Buy now opera,ballet and classical concerts tickets at famous theaters in Europe
 
Tickets Booking for famous theaters in Europe. Concerts and classic concerts tickets. Buy online tickets for opera and ballet events at Vienna State Opera, Teatro la Fenice, OPERA GARNIER and OPERA BASTILLE in Paris, etc.