The triumph – and drawback – of the ever-popular La bohème is that Puccini appears to magic away harsh realities while grounding the opera within them. His bohemians are frozen in poverty, yet their warm friendships and passionate loves melt the winter snows. Mimì is doomed, yet battles tuberculosis to forgive the distraught, once-jealous Rodolfo.

First seen in 2012, director Annabel Arden’s stylishly framed Welsh National Opera production plays the work’s strongest card in simple storytelling. Set naturalistically in fin de siècle Paris by designer Stephen Brimson Lewis, the result – notwithstanding conductor Manlio Benzi’s at times over-boisterousness from the pit – exudes charm without veering into the sentimental.

The relationships on which the plot turns are enacted with an appealing innocence-cum-knowing in an opera which is, after all, about growing up. While Lauren Fagan’s Musetta runs brassy rings around Gary Griffiths’s brooding Marcello, Marina Costa-Jackson proves a rich-voiced Mimì who defies easy martyrdom. Her Rodolfo, Dominick Chenes, is occasionally brittle of tone, but responds with movingly volatile emotion. Jihoon Kim (Colline) and Gareth Brynmor John (Schaunard) offer stalwart good cheer, but most affecting is the white spotlight which exposes Mimi’s final, utter isolation, lying dead on an otherwise darkened stage.