A beautiful production. Superb staging. A fine ensemble cast. Standout singers. In the pit, a vibrant orchestra. There were times during the CCM Opera production of Puccini’s “La Bohème” when I had to pinch myself that these were students. Days after seeing the opening night show, I am still singing Musetta’s Waltz in my head.

The occasion, in Corbett Auditorium at the University of Cincinnati College-Conservatory of Music, marked the mainstage directorial debut of Jose Maria Condemi, a celebrated international director and CCM alumnus, who recently joined the faculty.  (No doubt, you’ve seen his work at Cincinnati Opera and perhaps elsewhere.) The production of “La Bohème” was lightly updated to 1900, the year the Paris Métro opened, an ingenious and charming touch. I saw the performance on Oct. 29. As always, there were two different casts.

CCM has not mounted Puccini’s much-loved Italian opera in 17 years. It was an ideal opera for CCM’s rising opera singers, whose youthful horseplay and impressive voices were a good fit for the love story about poverty-stricken, young Bohemians living in a garret. At its heart, of course, is the sweet-hearted, consumptive Mimi, who falls in love with the poet, Rodolfo.

Soprano Clara Reeves was simply stunning in the role of Mimi.  We were introduced to her ravishing lyric soprano in “Mi chiamano Mimi” (They call me Mimi). She sang all evening with tender phrasing and top notes that carried effortlessly over the swell of the orchestra. Her farewell aria to Rodolfo in Act 3, “Addio, senza rancor,” was heartbreaking. Clearly, she is a talent to watch.

Tenor Xiaofeng Hou was a fine singing actor in the role of Rodolfo, who phrased with youthful ardor in the famous, “Che gelida manina.”

The quartet of bohemians was rounded out by baritone Alan Rendzak, who charmed with a robust voice as Marcello and Owen Langford, an excellent Schaunard. Andrew Hallam, as Colline, sang a tender farewell to his coat.

Then, of course, there was the timeless scene at Café Momus. There were bustling crowds, a children’s parade and even a brass band, framed by the café and the entrance to the Métro station. Wearing a gaudy dress and a big smile, soprano Morgan Small as Musetta stole the show in Musetta’s Waltz. Andrew Hebert took on the roles of the landlord, Benoit, and Musetta’s clueless date, Alcindoro, with aplomb. The chorus, prepared by Cory Battey, and the Children’s Chorus, prepared by Andrew Miller, added lively color to the scene.

Condemi’s staging was utterly natural and engaging, and he managed the crowd scenes on Christmas Eve seamlessly. I especially enjoyed his staging of the famous quartet at the end of act 3, of the two pairs of lovers, quarreling on either side of the stage.

Aik Khai Pung led the orchestra through Puccini’s unforgettable tunes with assurance. The orchestra played well, though its lush textures in Act 1 sometimes overpowered the voices.

Turn-of-the-century costumes were designed by CJ Kelly. The scenic design by student Ann Bradbury included a spacious garret and a colorful Latin Quarter. The foggy, icy backdrop in Act 3 at the gates of Paris looked cold enough to make you shiver.

To see what’s next at CCM, visit ccm.uc.edu/onstage