At his introductory remarks at the premiere of Opera in the Heights' new production of Giacomo Puccini's eternally fresh and evergreen opera masterpiece, La Bohème , artistic director and maestro Eiki Isomura said that he had recently been asked, Why Bohème again? “Because it's so good, and everyone loves it. We owe our love for the art form to Bohème.” He's absolutely right. And Opera in the Heights' production is very good indeed.

This striking opera has been in the repertory ever since its world premiere in Turin, Italy, 1896, under the incandescent conducting of young, soon-to-be legendary Arturo Toscanini. It has become the most produced opera in the world and, perhaps, the most beloved. It is easy to see why.

The story is solid. Think of Jonathan Larson's phenomenal cult musical smash Rent, or Baz Luhrmann's sleek and sexy hit movie, Moulin Rouge, and its Broadway adaptation which is still running on The Great White Way, and you'll understand.

Based on Henri Murger's gritty newspaper serial and later novelization, Scenes de la Vie de Bohème, 1847-49, and expertly adapted by two of Italy's most famous duo librettists, Giacosa and Illica (who would later pen Puccini's Madama Butterfly and Tosca – two more greats to add to the list of favorite and most produced operas), we are no longer in the realm of fairy tale or high class drama.

This is everyday life of the poor and struggling. Artists to be sure, but down and out during the Second French Republic in Paris. Rodolfo (tenor Brian Yu) is a poet, who burns his plays to keep his roommates warm in the walk-up garret. Marcello (baritone Kellen Schrimper) is a painter in love with flirty Musetta (soprano Caitlin Aloia). Their relationship is definitely on-again, off-again, on-again. Musician Schaunard (baritone Adam Richardson) brings in enough money from his scant career to supply their food, at least for a few days. “Philosopher” Colline (bass Griffen Hogan Tracy) doesn't really do anything except, at opera's end, sell his beloved overcoat to pay for ailing Mimi's medicine and a doctor's visit.

Then there's Mimi (soprano Ashley Milanese), a tenant in the apartment building who embroiders silk flowers and suffers from tuberculosis. She “meets cute” with Rodolfo in one of opera's most stunning scenes when her candle blows out in the drafty building. They are instantly smitten, and in a radiant duet they declare their love and go off to meet the others at Cafe Momus for Christmas Eve.

Opera in the Heights sets the story in '20s Paris, which does it no harm. Their last production of Bohème was placed in swinging '60s Paris during the hippie revolution, with an updated libretto that included “groovy,” “bad karma,” and “you're a downer.” It was a stunner. As is this one, directed with finesse and imagination by Nicole Kenley-Miller, with Jodi Brobovsky's rotating set with its Van Gogh-esque Parisian townscape and swirling sky background, costumers Shaun Heath and Mary Webber's flapper dresses, and hair designer Makaela Shade-Alexander's Louise Brooks-inspired bangs. It all works splendidly.

Of course, what truly works is Puccini's radiantly lush score, a paean to young love and its heartbreaks. He washes this opera in unceasing melody that cascades over you, one glorious aria or duet or trio whose tunes have seeped into our consciousness since its premiere. This lavish romanticism with its tinge of verismo was Puccini's breakthrough work that placed him at the forefront of Italian opera composers after the death of the master, Giuseppe Verdi. He took that mantle and wore it until his career finished with Turandot in 1926.

But Puccini wasn't kind to his singers. He demanded force, passion, lyrical legato, and an unbridled emotionalism – all indebted to Verdi's influence. If you're supposed to be in the throes of love, your vocal range is going to be high. The singers at Opera in the Heights match Puccini note for note, sometimes going one better. Milanese, as Mimi, is stupendous. Her luscious voice, velvet with impeccable diction, is almost too large for intimate Lambert Hall. Could you hear her in Montrose? Yes. Her quiet passages were quite beautiful, but this is a Metropolitan Opera voice, grand and glorious, able to fill any concert hall. With a reduced orchestration by Bryan Higgins, she soared over everyone. It was beautiful to hear – plangent and dramatic to a fault – but a bit too much in this small space. Just tone it down a bit, if you can. But what a revelation is this young singer. Greatness lies ahead.

Yu's voice, while hitting all the treacherous highs in the thrilling score, is a bit too small for Lambert Hall. He had to push it which made him sound a tad reedy and undernourished. He was an ardent lover and conveyed Rodofo's deep guilt when he can't bear Mimi's imminent death and wants to break off their relationship. Although he can't stand up to the force of Milanese's volcano, he blended well in their tender moments. Especially good were Schrimper and Aloia as Marcello and Musetta. Both are immensely gifted singers, able to navigate Puccini's thunderous music while etching fine and real characterizations. Musetta has one of the opera's great arias, “Musetta's waltz” or “Quando me'n vo'” (When I go along). With her red boa molting all over the stage and her blond marcelled hair gleaming in Edgar Guajardo's light, she stopped the show as she flaunted her hen-pecked sugar daddy Alcindoro (baritone Zack Scott Frank) to get Marcello's attention. She certainly gets his attention – and ours.

The chorus, under Gregory McDaniel, and the children's chorus, under Monica Isomura, were in resplendent form, whether as street sweepers, dairymaids, or the populace of Paris out on Christmas Eve with kids clambering for presents or amazed by the parade. It was staged economically, down the aisle and across the front of the audience, using every available space in the theater. Lovely work.

Then there was the orchestra, under maestro Isomura. I don't think they've ever sounded better. The horns were crisp, the strings deep and resonant, the harp celestial, the woodwinds spirited, the percussion booming. Isomura clearly loves his Puccini, and he threw his heart into this most romantic score.

If you'd like to experience opera and you've never tried it, Opera in the Heights' Bohème is the perfect starter. It's opera at its finest: rich, affecting, swoon-worthy, and the best music on stage. This production touches all the bases. Puccini grabs and shakes you. He moves you. You just might like it.

Note: If you can't get enough of Puccini's masterpiece, Houston Grand Opera has programmed it for next season, January 2025. I told you it was popular.

La Bohème continues at 2 p.m. Sunday, April 7; 7:30 p.m. Friday, April 12; and 7:30 p.m. Saturday, April 13 at Opera in the Heights, Lambert Hall, 1703 Heights Boulevard. Sung in Italian with English surtitles. For more information, call 713-861-5303 or visit operaintheheights.org. $29-$85.