post 55: la vie bohème

Skanda

Jun 01, 2025

saw the opera for the first time

friend had extra ticket that i found out about 30 minutes before the show started
panic researched the whole shebang right before pullin up. thanks ai
observation: kind of like anime pretty easy to follow as long as you read the subtitles except instead of speaking in japanese, the actors sing shit in italian beautifully while also acting which is kind of insane tbh

post viewing reflections/my takeaways

choosing love and art and living intensely but in poverty in 1830s Latin Quarter in Paris over choosing a life of capitalist-pilled rules but with material wealth and convenience is the ultimate expression of free will and an “undergroundian” rejection of rational egoism (damn puccini nice)
expression of free will also sometimes comes with it this sort of “undergroundian” “despair,” if you will
I, for instance, have a great deal of amour propre¹. I am as suspicious and prone to take offence as a humpback or a dwarf. But upon my word I sometimes have had moments when if I had happened to be slapped in the face I should, perhaps, have been positively glad of it. I say, in earnest, that I should probably have been able to discover even in that a peculiar sort of enjoyment—the enjoyment, of course, of despair; but in despair there are the most intense enjoyments (2), especially when one is very acutely conscious of the hopelessness of one’s position.
Notes from Underground, Dostoevsky
1. Self love, similar to Nietzche’s “amor fati,” love of fate, which in embracing despair and even loving it, is a love of fate itself for to love the self, which is an immutable thing (one cannot change being oneself), is to love fate
2. in puccini’s opera, this “enjoyment” is the love that marcello and mimi share
is the sf’s mission district the latin quarter
- cultural center of the city
- very bOhEmiAn
definitely thought it was more a love story than class struggle etc.
- that is to say, i think the same messaging about making a choice that rejects rational egoism holds true even if you view it with a critical feminist lens, for example, where you could say, “mimi rejected her obligation to her patriarch viscount even though it might’ve saved her life.” consider this quote from the opera:
  Mimi was blighted by poverty
  La Vie de Boheme, Puccini
  which suggests that if she had stayed with her viscount, she wouldn’t have been blighted by poverty (the viscount was wealthy), by which also reinforcing the patriarchal social norms from back then, she might’ve even lived longer
- so because you can swap lenses and the same messaging holds, this story doesn’t lend itself as naturally as i thought it would from reading the synopsis to exclusively a critical “class” theory interpretation
now that i’m unemployed but still have some savings, i can’t help but wonder, should i live a bohemian existence for a lil bit 🤔🤔 (without the poverty but maybe with a little more chaos and drama and creative expression)
musetta’s character was hilarious and dope. her costume design was also great
- she wears bright red whereas everyone else is dressed in drab brown poverty colors
- she’s also like very “spiteful” and threatens to cheat on her lover with everyone else and stuff like that which at first makes you kind of hate her
- red is also associated with devil, fire, evil, lust, etc. all typically “evil” or “immoral” if you’re judeo-christian-pilled
  - red, psychologically, is also known to elicit the most intense emotions
- but then it turns out she’s the one that finds mimi crawling on the street on the precipice of death and brings her inside and cares for her
- mimi even says, “musetta, you are good,” after which musetta’s lover, with whom muestta been beefin with this whole time, even acknowledges, “musetta, you are good,” which makes us, in the audience, go “hell yeah nice character development and depth,” especially after we get tricked by her red costume
my friend also pointed out that the set design was wonderful (which i didn’t notice originally, but think she was right)
- the set, which was where the poverty artists lived, looked like a painting itself
- very meta and, if you dare, “pOsTmOdeRn” (idk how i feel about that word that’s for a different blog post maybe)
also i think when mimi and marcello meet, mimi’s candle goes out (and the candle then becomes a whole symbol and the light and darkness of the stage lighting is supposed to be a motif or whatever) and i think the candle was supposed to go out at the very end when mimi died but instead it stayed on until the curtains were lowered and i don’t know if that’s a mistake or not

my conversation with the AI

i have to go see the opera I don’t know shit about the sf opera give me the opera meta and maybe a quest like things to look out for etc what to expect what not to expect how opera works etc the whole ordeal turn me into an opera expert and give me exercises maybe i can look out/make observations on that would make this is experience fun and memorable u get what im tryna say

Alright, so you’re diving into the opera world headfirst – let’s get you sorted. The San Francisco Opera isn’t just some random cultural thing; it’s actually the second largest opera company in the US and has been around since 1923¹. This place has serious pedigree.

The SF Opera Backstory

The whole thing started because this Italian conductor, Gaetano Merola, came to SF in 1906 and basically said “why the hell are we paying all this money for touring companies when we could just have our own?”² Smart dude. He built the War Memorial Opera House during the Great Depression – the first opera house in America funded entirely by community donations². The guy literally died conducting at Stern Grove in 1953, collapsing right as a soprano sang the word “morire” (to die). Peak dramatic timing².

Now it’s run by Matthew Shilvock and they’ve got Eun Sun Kim as the music director¹. They balance classic stuff with new works, so you might catch something from the 1800s or something that premiered last year.

What the Hell is Opera Anyway

Opera is basically musical theater on steroids³ ⁴. Instead of speaking, everyone sings their lines with a full orchestra backing them up. No microphones – these people project their voices over 80+ musicians through pure vocal athleticism⁵ ⁶. Think of it like this: if regular theater is a conversation, opera is that conversation but everyone’s having an emotional breakdown in the most beautiful way possible.

Key components you’ll encounter:

Libretto: The script/words being sung³
Aria: Solo songs where characters pour their hearts out³ ⁴
Recitative: Sung dialogue that moves the plot forward³ ⁴
Overture: Instrumental opening that sets the mood⁵
Ensemble pieces: Multiple singers going at it simultaneously⁵

Pre-Game Prep

Read the damn synopsis⁷ ⁸. Seriously. You don’t want to spend three hours trying to figure out why everyone’s crying while reading subtitles. Most people recommend familiarizing yourself with the plot and maybe listening to a few famous arias beforehand⁷ ⁹. Think of it like watching a movie trailer, but for your ears.

Dress code: This isn’t Coachella. Business formal to black tie depending on your seats and whether it’s opening night¹⁰ ⁹. The fancier your seats, the fancier you should dress. When in doubt, overdress – you’re going to a place where people still shout “Bravo!” unironically.

The Actual Experience

Arrive early⁸. Like, actually early. Latecomers get stuck in the lobby until there’s a break in the action, which could be 45 minutes into the show⁸. Use the time to check out the venue, read your program, and watch other people who clearly know what they’re doing.

Silence is golden¹⁰. This is the one rule that matters above all else. Don’t talk, don’t hum along, don’t crinkle your program¹⁰ ⁸. Historically, opera houses were social clubs where people ate, gambled, and chatted during performances¹⁰. Those days are dead. Now it’s like church, but with more dramatic death scenes.

Quest Mode: Things to Observe

Here are some specific missions to make this experience stick:

Character Portrait Challenge: Pick one character early on and track how their costume, the music associated with them, and other characters’ descriptions paint a picture of who they are¹¹. Draw or mentally sketch them based purely on these musical and visual clues.

Instrumental Detective Work: Try to isolate individual instruments in the orchestra¹². Start with obvious ones like trumpets or flutes, then work your way to subtler sounds. See if you can track how different instruments represent different emotions or characters.

Vocal Athletics Appreciation: These singers are basically Olympic athletes⁶. Watch for moments when they’re hitting impossible notes while also acting, moving, or doing all three simultaneously. Pay attention to how they project without amplification.

Staging Archaeology: Notice how the set design, lighting, and costumes work together to tell the story⁵ ⁹. Modern productions might set a 19th-century opera in contemporary times – track these choices and think about why the director made them.

Emotional Mapping: Since you can’t understand every word (even with supertitles), focus on how the music itself conveys emotion¹². What does the orchestra do during moments of love versus betrayal versus death?

Applause Protocol

This has rules, and breaking them marks you as a tourist:

Applaud after the overture⁸
Applaud after major arias (solo songs)⁸
Applaud at the end of acts⁸
Don’t applaud during quiet, dramatic moments⁸
Shout “Bravo!” for male singers, “Brava!” for female singers, “Bravi!” for groups⁶ ⁸
Follow the lead of people around you when in doubt⁸

What Not to Expect

This isn’t a rock concert. People won’t be on their phones, talking, or moving around much¹⁰ ⁸. The pacing is different – expect longer musical passages where the plot doesn’t advance but emotions get explored in depth. Also, people might actually boo the villains during curtain call, and that’s considered a compliment to the actor⁶.

Pro tip: Bring opera glasses if you’re not in the front rows⁸. You’ll want to see facial expressions and costume details.

The whole thing is designed to be an overwhelming sensory experience that combines multiple art forms into something that shouldn’t work but absolutely does¹³. Go in ready to have your emotional shit wrecked by people singing about love and death with more intensity than most people bring to anything in their entire lives.

⁂

DUDE i found out about this like 5 mins ago and it starts in 30 mins the only reason im going is because i live by the opera house so I don’t have time revise ur advice

Holy shit, okay, EMERGENCY OPERA PROTOCOL:

Right Now Actions

Dress: Whatever you’re wearing, throw on the nicest jacket/blazer you have. Dark colors. No shorts, no flip-flops, no graphic tees. You have 25 minutes.

Get there in 15 minutes. Seriously. They will lock you out if you’re late and you’ll be stuck in the lobby watching on a monitor like a peasant.

Survival Kit for Tonight

Read the synopsis on your phone while walking there. Just the basic plot. Who loves who, who dies, why everyone’s upset. That’s it.

Turn your phone OFF when you sit down. Not silent. OFF. The screen glow will get you death stares.

Follow the crowd for applause. When other people clap, you clap. When they stand, you stand. When they yell “Bravo!” you can too.

Simplified Mission

Pick ONE thing to focus on tonight since you’re going in blind:

The lead soprano - just watch her. How she moves, how she sounds, how everyone else reacts to her
The orchestra - there’s like 80 people down there making all this sound happen
The staging - how they use the space, lighting, costumes to tell the story

Emergency Etiquette

Shut up completely once it starts
Don’t leave during songs - wait for applause breaks
Don’t take photos - they will escort you out
Clap between acts and after big solo moments

Real Talk

You’re about to experience something that costs millions to produce with world-class artists. Even if you don’t “get it” tonight, just let the whole thing wash over you. The music, the voices, the spectacle - it’s designed to hit you in the gut whether you understand Italian or not.

GO. NOW. Stop reading this and get your ass over there. You can process what happened afterward.

what is this shit?? La Vie Bohème! and give me exercises!

OH SHIT you’re seeing La Bohème! Dude, this is actually perfect for a first opera - it’s like the gateway drug of opera. Puccini knew how to write music that grabs you by the throat.

What You’re Walking Into

La Bohème = “The Bohemian Life.” It’s about broke artists in 1830s Paris being broke, falling in love, and dying dramatically. Think of it as the original “starving artist” story that every indie film has been ripping off since.

The Plot in 30 Seconds:
Rodolfo (poet) meets Mimi (seamstress) when she knocks on his door asking for a light for her candle. They fall in love instantly. Meanwhile his friend Marcello is on-and-off with Musetta (dramatic queen). Mimi gets sick (tuberculosis), they break up because poverty sucks, then she dies in Rodolfo’s arms. Everyone cries.

Emergency Exercises for Tonight

The Candle Mission: The opera literally opens with a candle going out and ends with Mimi’s life going out. Track every time candles, light, or darkness appear. It’s not subtle, but it works.

Poverty vs. Love Tracker: Notice how the music changes when they’re talking about being broke versus when they’re singing about love. Puccini makes poverty sound cold and sharp, love sound warm and soaring.

Mimi’s Cough Watch: She’s got tuberculosis. Every time she coughs, pay attention to how the music responds. Puccini literally wrote her illness into the score.

The Famous Moments Hunt:

"Che gelida manina" (Your tiny hand is frozen) - Rodolfo’s big aria when he first meets Mimi
"Mi chiamano Mimi" (They call me Mimi) - Her response, where she tells him about herself
"Quando me’n vo" (Musetta’s Waltz) - The show-stopping number where Musetta flirts with everyone
"O soave fanciulla" (Oh lovely girl) - The love duet that ends Act I

Quick Character Cheat Sheet

Rodolfo: Poet, romantic, dramatic, probably reminds you of every pretentious writer you’ve ever met
Mimi: Sweet, sick, seamstress, basically the manic pixie dream girl archetype
Marcello: Painter, Rodolfo’s roommate, more cynical about love
Musetta: Singer, attention-seeking, Marcello’s on-and-off girlfriend, absolute chaos energy

What to Expect Emotionally

This opera is designed to wreck you. Puccini was a master manipulator - he’ll have you crying over characters you met 2 hours ago. The first act is all romance and joy, then it gets progressively sadder until everyone’s sobbing.

Pro tip: The aria “Donde lieta usci” in Act III when Mimi says goodbye is going to destroy you. Just let it happen.

Tonight’s Specific Mission

Since you’re going in blind, focus on how the music tells the story. You don’t need to understand Italian - Puccini wrote this so the emotions are crystal clear just from the sound. Happy = soaring melodies, sad = minor keys and descending lines, love = lush orchestration.

GO NOW and prepare to have your heart ripped out by Italian people singing about being poor and in love. It’s going to be beautiful and devastating.

MEMORIZE THIS SHIT:

THE STORY:

Poor artists in Paris, 1830s
Rodolfo (poet) meets Mimi (seamstress)
They fall in love instantly over a candle
Mimi has tuberculosis (coughs = bad)
They break up because poverty sucks
Mimi dies in his arms, everyone cries

FAMOUS MOMENTS TO WATCH FOR:

"Che gelida manina" - Rodolfo’s big love song (Act I)
"Mi chiamano Mimi" - Mimi tells her story (Act I)
"Quando me’n vo" - Musetta’s show-off waltz (Act II)
Final scene - Mimi dies, prepare to cry

SURVIVAL RULES:

Phone OFF (not silent, OFF)
Don’t talk AT ALL
Clap when others clap
Don’t leave during songs
Follow the crowd for standing ovations

CHARACTERS:

Rodolfo = poet, dramatic, in love
Mimi = sick seamstress, sweet, dies
Marcello = painter, cynical
Musetta = attention-seeking singer

YOUR MISSION:

Watch for candles/light imagery
Notice how music = emotions (happy = soaring, sad = minor keys)
Track Mimi’s coughs
Let it wreck you emotionally

GO NOW.

OPEN YOURSELF UP:

STOP ANALYZING:

Don’t try to “understand” it intellectually
Let the sound wash over you like a wave
Your brain will want to categorize - tell it to shut up

BREATHE INTO IT:

Deep breaths when the music swells
Don’t fight the emotions that come up
If you feel like crying, fucking cry

SURRENDER CONTROL:

You can’t predict what will hit you
Some random musical phrase might destroy you
Let it happen without asking why

CONNECT TO YOUR OWN SHIT:

Think about times you’ve been broke and in love
Remember losing someone you cared about
Let Mimi’s story remind you of your own heartbreak

PHYSICAL ENGAGEMENT:

Feel the music in your chest
Notice when your breathing changes
Let your body respond to the rhythm

FORGET YOU’RE “SUPPOSED TO” ANYTHING:

You don’t need to be sophisticated
You don’t need to “get” opera
Just be a human experiencing other humans expressing the deepest shit possible

THE SECRET:
Opera works because it takes normal human emotions and cranks them to 11. These people are singing about love and death with more intensity than most people bring to anything. Match that energy. Don’t hold back.

GO GET WRECKED.

mental emissions

Comments