In Thai society, opera is often perceived as a foreign, high-society art form, which creates apprehension among potential audiences. Factors such as language barriers—most operas are performed in Italian, German, or French—make Thai audiences hesitant to attend. Additionally, the distinct literary, musical, and vocal styles of opera contribute to its lower popularity in Thailand. Consequently, fewer people attend opera performances, leading to fewer productions due to their high costs. This situation limits opportunities for Thai students studying opera to showcase their talents and learn the intricacies of staging and performing in operas.

To address these cultural gaps, Princess Galyani Vadhana Institute of Music, along with its vocal arts students, has developed a more accessible opera experience for Thai audiences. We have re-arranged the music for a piano quintet instead of a full orchestra, creating a more intimate and approachable atmosphere. This change not only reduces production costs but also allows for more frequent performances in diverse locations, promoting a broader appreciation for opera across the country. These sustainable production practices aim to gradually cultivate an opera-going culture in Thai society.

For the participating students, creating an opera from scratch offers invaluable hands-on experience. They engage in various roles, such as designing sets, props, stage movement plans, managing backstage operations, lighting design, and translating librettos into Thai and English to ensure audience understanding. The preparation for the opera performance includes three months of rigorous training. This training covers Italian language immersion, memorization of melodies and scripts, character interpretation, and role embodiment to ensure realistic and emotionally engaging performances. Additionally, students undergo demanding vocal training to enhance their stamina, vocal strength, and emotional expression, adhering to Puccini's stylistic nuances.

Audience interviews revealed that the pocket opera production was well-received. Viewers appreciated the translated storyline, the compact yet vibrant music ensemble, and the digital projections and props that authentically conveyed the bohemian atmosphere of Paris. However, some feedback suggested that the costumes appeared too luxurious for the characters' impoverished backgrounds. Feedback on the students' performances was overwhelmingly positive, with many noting the professional quality of their singing and acting. However, some suggested that the students could further enhance their vocal intensity, breath control, and emotional expression to align more closely with Puccini's style. The constructive feedback from audience interviews highlights both the strengths and areas for improvement. The production team gratefully acknowledges this feedback and aims to enhance the efficiency and effectiveness of future opera projects.