Here’s an experience to ponder. Long story short, I recently attained the rank of dad, so my review partner for this performance was not my wife but a friend keen to tag along.

I’ll admit I was feeling a little unexcited at the prospect of being bohème-ed by Puccini once again (how many versions have I seen now?), but watching it beside my never-seen-an-opera friend was genuinely eye-opening.

For him, the twists and turns were a revelation, and the sheer vocal ability of the singers was a shock. More fool me, then: his enthusiasm for the pizzazz and drama on stage gave me a shake-up and helped me see this performance with fresh eyes.

A co-production between Opera Queensland and West Australian Opera, and conducted by the QSO’s Umberto Clerici, this staging was first seen in Perth in 2023. Limelight raved about it at the time, noting: “Yes, this is possibly the most popular opera ever written, and you’ve probably seen countless productions. But not this one.”

Here, in Opera Queensland’s presentation, a few names have returned from the Perth cast: Elena Perroni reprises her Mimì and Samuel Dundas his Marcello; joining the cast are Valerio Borgioni as Rodolfo and Nina Korbe as Musetta.

Opera Queensland’s La bohème. Photo © Murray Summerville

This production moves the setting to 1920s Paris – close in flavour to the original, with its intellectual ferment and struggling artists. A greenhouse-like structure rotates to create both exterior and interior settings – brilliant work from set designer Charles Davis.

His costume design, too, is a triumph. Opera Queensland’s otherwise superb production of Rossini’s Cenerentola earlier this year had a few funky chorus costumes; here, by contrast, every cast member is dressed to the nines. Fans of Miss Fisher’s Murder Mysteries would have a field day with the 1920s finery on display.

Matt Reuben James Ward’s sure-handed direction keeps the stage in constant, natural motion. In the bustling Act II Christmas Eve market scene, every member of the chorus has a convincing action or reaction, with tiny stories unfolding across the stage. It adds richness and realism to the world of the opera.

Nina Korbe in Opera Queensland’s La bohème. Photo © Murray Summerville

The principal singers are outstanding. Perroni and Borgioni’s Che gelida mania is as delicate as one could hope for, followed by a radiant Sì, mi chiamano Mimì from Perroni.

Korbe, as Musetta, is an irresistible scene-stealer, balancing vampishness with later warmth. Her Quando m’en vo is superb, while her sparring with Dundas in their will-they-won’t-they subplot offers a lively counterbalance to Mimì’s impending fate. Perroni’s final scenes are acted with great sensitivity by all.

A terrific production with excellent performances all round – and a reminder to me that old favourites are worth revisiting. Not to be missed.

Opera Queensland presents La bohème at the Lyric Theatre, Queensland Performing Arts Centre, Brisbane until 13 September. A Brisbane Festival event.