In the case of Mimì and Rodolfo, musical phrases bring the opera full circle and let the music reveal the memories recurring in the minds of the lovers as they say farewell. Throughout, Puccini relies on short musical motifs that represent characters, themes, and moods so that the music underscores and highlights aspects of the drama. La Bohème, which marks Puccini’s emergence as a fully mature and original composer, contains some of the most-memorable arias and musical scenes in opera. Puccini described the public reaction as a “splendid reception.” In fact, the results so pleased the team of Puccini, Illica, and Giacosa that the men-who had first worked together to finish Manon Lescaut-reunited to create two equally beloved operas: Tosca (1900) and Madama Butterfly (1904). Soon La Bohème had eclipsed Manon Lescaut in popularity. Critics who had adored the composer’s Manon Lescaut and were expecting something dark and dramatic were a bit put off by the sweetness of La Bohème’s story, but audiences were highly receptive. La Bohème’s long-awaited premiere was conducted by the young Arturo Toscanini.
It took nearly three years for the librettists to satisfy Puccini and for him to compose the opera. Puccini’s resolve was strengthened, and Illica persuaded Giuseppe Giacosa (who, as a respected poet, had considered the subject unworthy) to work on the versification of the story. The two composers took their arguments and counteraccusations to the popular press. In a chance meeting, Puccini learned that Ruggero Leoncavallo, one of his strongest rivals, had made great progress on his own La Bohème. His collaborator Luigi Illica was a strong advocate, however, and Puccini had decided by early 1893 to have him work out the scenario. Although the subject had come to his attention by the time he was finishing Manon Lescaut at the end of 1891, Puccini was not yet committed to writing an opera on the bohemian theme. Puccini’s fourth opera met obstacles on its way to the stage.
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