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Giacomo PUCCINI
(1858-1924)
La Bohème (Highlights)

Mimi……………………………….Renata Tebaldi

Rodolfo…………………………….Carlo Bergonzi

Musetta…………………………….Gianna d'Angelo

Marcello………………………… Ettore Bastianini

Schaunard………………………… Renato Cesari

Colline……………………………. Cesare Siepi

Chorus and Orchestra dell'Accademia di Santa Cecilia, Roma
Conducted by Tulio Serafin
Plus arias from Turandot; Manon Lescaut, Suor Angelica and Gianni Schicchi
DECCA 458 248-2 [69:50]
Crotchet
 midprice

Here are highlights from yet another impressive La Bohème dating back to 1959. This set dominated the catalogues of its day and was a fine technical accomplishment. Tebaldi is most affecting as Mimi and Bergonzi is a rugged masculine Rodolfo.

The Act I excerpt commences with the arrival of Mimi and one is impressed with the sincerity and the grand emotive expressiveness of Bergonzi, and the romanticising vulnerability of Mimi as expressed in her higher register yet somehow she also manages to convey a 'street-wise' side to her character. Act II is Musetta's but I felt that Gianna d'Angelo could have sounded more coquettish in her Waltz Song. Serafin provides a vivid sense of theatre particularly in the concluding passage as the martial band arrives.

Act III excerpts commence with the lovely lyrical reunion of Rodolfo and Mimi. The quartet is marvellously realised here with the aforementioned lovers' billing and cooing, exquisitely counterpointed by the vituperative arguing between Musetta (much better here) and Marcello. Bastianini makes a superb Marcello - boorish yet tender and his Act IV duet with Rodolfo in which the pair express their longing for their estranged girl friends is excellent, with Serafin providing a most moving accompaniment. Siepi is equally magnificent as he bids farewell to his overcoat so that food and fuel can be bought for the ailing Mimi. The concluding death scene is made almost unbearably poignant by Bergonzi's heart-wringing despairing cries as Mimi expires.

As far as the bonus tracks are concerned - Renata Tebaldi is a poignant Liù as she kills herself for the sake of Calaf in the short excerpt from Turandot that also features a very brief appearance by Mario del Monaco as Calaf. Tebaldi also sings 'In quelle trine morbide' from Manon Lescaut, living in luxury, Manon sentimentalises over memories of love. Tebaldi is deeply moving as the mother mourning her deceased baby in 'Senza mamma, o bimbo, tu sei morto' from Suor Anglica and ardently pleading in the well-loved 'O mio babbino caro' from Gianni Schicchi. Carlo Bergonza is ecstatic as he meets Manon Lescaut in his aria, 'Donna non vidi mai simile a questa'.

For those preferring highlights this is a solid recommendation

Ian Lace

see also Ian Lace on Boheme


Reviews from previous months


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