There is a good reason why La bohème is a ‘banker’ for opera companies. The tale of four young men at the start of their chosen creative careers and their love-lives has Puccini’s gorgeous melodies and a joie de vivre that sweeps the audience up into a chilly winter in 19th century Paris. Unsurprising then, that English Touring Opera has revived James Conway’s 2015 production, directed by Christopher Moon-Little.

We first meet the friends in their attic flat – packing cases for furniture, a skylight the only window – as they bemoan their poverty. Their Christmas Eve is saved by Schaunard the musician, who has received money from a sponsor. Themba Mvula is elegant, his voice conveying a raised eyebrow. After ridiculing Benoit, the landlord (a laddish Matthew McKinney) they go out, leaving Rodolfo to encounter Mimi and her cough.

Luciano Botelho’s voice is light and boyish and ‘Che gelida manina’ sounds like natural conversation rather than 'A Big Aria.' In response, Francesca Chiejina is shyly charming, with surprisingly rich notes in her lower register as well as sweetness in her top notes. As Mimi, she is utterly compelling

Out in the bustle of Parisian street life, there’s Parpignol (Robert Lewis) entertaining a crowd of children and the bar at Café Momus, where Musetta (Jenny Stafford) arrives with her current protector and proceeds to needle the jealous Marcello. In many ways, Marcello is the steady centre of the story, and Michel de Souza catches that aspect very well, in contrast to the firebrand Musetta. Her attention-seeking set-piece does just that, cutting clear through the bar’s hubbub.

The quartet which ends Act 3 – Rodolfo and Mimi declaring their love, Marcello and Musetta arguing – works well with good balance

Back in the attic again, the boys are making the best of things, joshing each other and duelling with bits of broomstick, till they are interrupted by Musetta. Mimi has collapsed on the stairs. So, with the friends around her and Rodolfo trying to warm her gelidi manini, Mimi is home at last. It is also Colline’s big moment, as Trevor Eliot Bowes sings an ode to his shabby fur coat, bought that Christmas Eve, and which he is going to pawn to pay for medicine or some other comfort for Mimi. Before he leaves, he urges Schaunard to make his contribution – to leave Rodolfo and Mimi alone together – but, already, Schaunard is coughing into a reddened handkerchief.  

Mimi dies with her friends around her, Rodolfo’s back turned, busy with something. It falls to Marcello to make him realise and the curtain falls on Rodolfo’s anguished cry of ‘Mimi’.

Conductor Iwan Davies keeps up a good pace, with the orchestral sound rippling through the 'Che gelida manina' theme wherever it occurs, as well as brassy sounds for the military band passing Momus.

The atmosphere created by lighting designer Rory Beaton – the rich warmth of the café in Act 2, the chill outside the tavern in Act 3 – illuminates the development of the doomed love. There is a freshness about this production, not least because of the believability of the friendship they share.