Customer Reviews

Puccini - La Bohème

5 star:		(19)
4 star:		(10)
3 star:		(4)
2 star:		(8)
1 star:		(11)

 

 

Wow! Reading all the reviews giving this recording five stars was so exciting! I just ran right over to my sister's house (she's a die-hard B. fan) and borrowed this recording.

In my wildest dreams, I could not have imagined a "Boheme" like this one. Bocelli is simply - well, words fail me. Suffice it to say that he sings with blinding brilliance (if you will pardon the expression). Surely such sounds have never issued from a tenor's throat in this part. It takes genuine talent to make Puccini sound like Andrew Lloyd Webber (normally it's the other way around). My one concern about this recording is that I sincerely hope the microphone sitting on Andrea's tonsils did not damage his precious vocal cords. As for Pavarotti, Domingo, Corelli, Bergonzi, Björling, Tucker, Martinelli, Gigli, Caruso - Bocelli is in a different league entirely. Forget them. (I know Andrea would like for us to forget them, too, so lets respect his wishes on this one.) Tenors with genuine talent, vocal technique, a sense of style, and the ability to sing on pitch are plentiful in the history of opera; Bocelli provides us with a refreshing alternative, something really new - a Rodolfo who sounds like a Parpignol. (Think of this as the "reverse James McCracken" approach.) It remains only to be said that the rest of the recording is fully worthy of the tenor.

And now, I have good news for Bocelli fans. EMI has finalized plans to record Andrea as Siegfried in a new complete recording of Wagner's Ring cycle. (For you opera newbies, that is a series of four operas that lasts 17 hours and gives your tushie a real work-out, but Andrea will make it worth it.) Also in the cast will be Annie Lennox as Brünnhilde, Sting as Wotan, and Ozzy Ozborne as Alberich. Other plans for Andrea include "Il Trovatore" with Madonna and "Tosca" with Whitney Houston (Aretha Franklin sings Scarpia).

Without a doubt, everyone who likes this recording of "La Boheme" has taste fully worthy of Andrea Bocelli. It simply confirms what many of the most knowledgeable opera fans have long known: Andrea Bocelli is the Florence Foster Jenkins of tenors. Long May He Sing!

"La Boheme" has, for the most part, fared well on records. There are many classic recordings of this, the most frequently performed opera in the world: the Beecham with De los Angeles and Björling; the Votto with Callas and di Stefano; the Serafin with Tebaldi and Bergonzi; the Karajan with Freni and Pavarotti. Other recordings with various merits include the ones with Tucker and Moffo, Peerce and Albanese (under Toscaini), Domingo and Caballé, Gigli and Albanese, Scotto and Kraus, and more recently, Alagna and Gheorghiu.

This new turkey of a "Boheme," utterly lacking in any artistic (as opposed to crassly commercial) justification, is not even worthy to be mentioned in the same review as the foregoing, much less to be compared to them. To anyone who knows and cares about Puccini's music, this recording is not only unnecessary and indifensible, it is offensive. There is so much blame to go around that it is difficult to know where to begin, but let's start with the conductor, Mehta, who apparently cannot make up his mind whether he wants Puccini's poor opera to be pummelled to death with a sledgehammer or drowned in a slough of sentimental goo. Barbara Frittoli has a pleasant if undistinguished voice but she is a total cipher as Mimi, devoid of personality or individuality of timbre. The Marcello and Musetta are good, and if they don't erase memories of their more illustrious predecessors on disc, they do not embarass themselves, either. But then, who buys "Boheme" for the Marcello and Musetta?

So let's face it - the entire rationale for this recording is pop star and operatic tenor wannabe, Andrea Bocelli; the rest of the recording is just so much surplusage. And so how does the Great Bocelli fare as Rodolfo? To put it bluntly, the man may be a fine singer of pop music and folk songs, but in opera, he couldn't sing his way out of a paper bag. In spite of the blatant miking, which sounds like he was crooning directly into the microphone (no doubt he was), it is painfully obvious that Bocelli's modest resources are utterly inadequate to the demands of this role. High notes are lunged at and thin, ends of phrases are unsupported and often simply drop off, and he is incapable of any real dynamic variation, singing most of the role at an unvarying mezza forte. Most damaging of all, his voice is incapable of expanding and blooming to fill out Puccini's grand lyric phrases. All the digital wizardry in the world cannot turn Mr. Bocelli into what he is not, and what he manifestly and undeniably is not is an operatic tenor. The computer jockeys likewise cannot create in Bocelli any sense of Puccini style. As a previous reviewer observed, Bocelli sings this music like it was Andrew Lloyd Webber, with a soupy, crooning style totally unsuited to the music.

None of this, of course, is going to deter Mr. Bocelli's determined fans, 99% of whom have no point of reference for comparison, from buying this recording. And if their love affair with "Andrea" causes them to buy this recording and thereby to strike up an acquaintance with "La Boheme" and, possibly, with opera as a whole, I would be the first to celebrate - so long as they don't think that in listening to this recording they have really heard "La Boheme" or Puccini, or that they have heard any representative example of what a truly great operatic tenor sounds like.

This recording really stinks. Eees so bad, eees terrible.

Puccini's, "LaBoheme" is a wonderful opera, both musically and by way of its storyline. If you are new to opera and a Bocelli fan, this is a perfect opportunity to hear this tenor at his BEST and become acquainted with what opera is all about. It is worth the effort. The entire ensemble makes this recording a gem. Read the libretto, follow the drama, get to know the characters. Andrea's beautiful voice is a standout within this cast of singers, but everyone is a pleasure to listen to. The familiar arias, "Che gelida manina" and "O soave fanciulla" alone, are worth the price of this cd. Bocelli's voice soars on its own and melds deliciously when teamed with others. An opera you can enjoy over and over again, in the comfort of your home or walking along a wetlands path. I highly recommend this CD to Bocelli fans. For those who are not yet familiar with Bocelli, I hope you too take this opportunity to discover the beauty and passion that so many admiring fans have succumbed to, upon hearing Andrea Bocelli sing. Enjoy~

Bocelli plays his part with the strains and emotional outpourings that are appropriate to his character; unfortunately, this is not the only thing needed for an operetic voice. Yes, he's got a nice, convincing sound, but just like Pavoratti singing "New York, New York", it just doesn't fit: maybe for a musical, but not for an opera.

Bocelli fans will enjoy this and would probably enjoy it more if they only bought the highlights album.

As for everyone else, Beecham's version is great. Buy that if you want an opera.

I have been experiencing opera for 45 years and own many CD's and videos,from Caruso to Pavarotti,and the Three Tenors.I didn't start out with tenors,but baritones and bass.Norman Treigle,NYCity opera was the best singing actor I ever saw/heard.And then came Bocelli.Like a breath of fresh air,bringing that undefinable something that stops you in your tracks when you hear the voice.Yes,I love the Pav/Freni version of this opera,yet I find myself going back to this recording again and again.It is Bocelli's voice that draws me,as I don't feel Fritoli's (voice)is well suited for Mimi as some others.I find it difficolt to relate to the constant complaints about this man and his vocal instrument.It continues to improve,as he continues to study.Perhaps the problem lies ,not with Bocelli,but with those who feel he has not "paid his dues" or simply because he does not fit the mold of tenors as we have come to expect them.If you can ignore "the Critics" and take time to really listen to this you will be moved,by the story and Bocelli's realistic portrayal of Rudolfo.Give it a try,you may find that opera really is for everday folks.As far as I'm concerned Bocelli hit a home run with this recording.

There are reasons why the critics lambasted this horrific recording. The main offender is Andrea Bocelli. To be blunt, he has a very small voice and has no business singing ANY tenor role in opera. He cannot be heard without serious amplification. His tone is gray and geriatric-sounding. Barbara Frittoli has admitted that she hates the role of Mimì and only agreed to record it in the studio. She has NO intentions of singing the role on stage. Zubin Mehta is jumping aboard Bocelli's gravy train. This once-great opera conductor, who led fine opera recordings such as Joan Sutherland's studio "Turandot", Birgit Nilsson's studio "Aïda", and Leontyne Price's second studio "Tosca", and Price's "Il Trovatore" with Plácido Domingo, Sherrill Milnes, and Fiorenza Cossotto, is now sadly another money-hungry person. This recording is not worth anyone's precious time or hard-earned money. Get the "Bohème" with Pavarotti, Freni and von Karajan or the one with Björling, de los Angeles and Beecham.

Did you people know that Bocelli has ALREADY recorded "Il Trovatore" and "Cavalleria Rusticana" plus "I Pagliacci"? Makes one want to hurl!

Well, after all of the hype, here it is: the long-awaited, much-anticipated complete opera recording debut of Italian tenor Andrea Bocelli. Like another reviewer, I expected complete catastrophe, but hearing Bocelli's album of Verdi arias raised my expectations slightly. The majority of the praise for this recording should be conferred upon Zubin Mehta and his splendid Israeli orchestra. There are many subtle beauties in Puccini's score, and the orchestra here brings them beautifully to the forefront of the drama. Mehta occasionally bumps and glides his way through the score a bit more than seems altogether appropriate, but he is committed to capturing the heartbreak of Puccini's tale by giving his soloists firm, musicianly support. Eva Mei makes a good impression as Musetta, confirming the positive stance she has attained in bel canto repertory. I heard baritone Paolo Gavanelli sing Rigoletto at the Met in December 1999, and it was the single most affecting operatic portrait that I have witnessed. The bleat in the tone aside, Gavanelli offers a committed, beautifully-sung Marcello full of love for both Rodolfo and Mimi...and, of course, the supressed passion for Musetta. Rodolfo and Marcello are, after all, roommates and ostensibly best friends--they share every detail of one anothers' lives, and when Mimi and Musetta are gone (at the beginning of Act IV), they only have each other. Gavanelli conveys this conviction, and thus emerges as one of the finest of recorded Marcellos. Mimi, as portrayed by Barbara Frittoli, emerges as a more secure, less vulnerable figure than is customary. Her voice is a large instrument, but well-used and applied with charm to her dramatic instincts. She soars in Act III as any Mimi should. Bocelli is a dedicated, self-motivated singer whose voice is naturally buoyant and free from mannerism--a seemingly ideal Rodolfo. Nonetheless, as he sings on this recording, it seems that he would be better suited for a Rossinian roue. The top tones are generally well-produced (the first top B-flat in Act I aside), but the lower-lying portions of the role emerge as hollow and poorly-supported. Although I appreciate Signor Bocelli and admire both his voice and stamina, he seems to have fallen prey to the commonly voiced feeling that opera is a string of high C's with outrageous situations and flamboyant costumes. I hope that his next recording of an opera (and I hope that there is another) will reflect a more contemplative, fuller voice. All in all, then, a decent "La Boheme" which gives us a view of Puccini for the 21st century.

I don't think I've ever read such diverse [opinions] of any recording save for Callas herself. You don't get more controversial than Maria yet some of her recordings have never, and will never be matched, never mind surpassed. I've never read anywhere that Andrea pretends to be any more than what he is, a tenor who loves to sing and who does it rather well, often quite well. He's genuine with a lyrical beauty that has the unfortunate reputation for being overmiked, enhanced etc. Even though this is true, I doubt that he or anyone else involved in the production of this recording had the misguided delusion that they were recording a classic. The singing is often more beautiful than half the self acclaimed critics [...], including myself, give it its due credit. To be honest Fritoli disappoints me because I saw her several seasons ago with Domingo in an Otello which for her Desdemona alone was worth the price of admission. She was nothing short of outstanding: drama, acting, voice. With that admission, I still think she does a good job with beauty of tone and some drama. She should not be judged by this recording alone. The rest of the cast does nothing to dishonor themselves. Mei's Musetta is good, often captivating. The sound is very good, the orchestra needs a little more "rhythmic" life. I've heard "Rudolfos" at the Met who credited themselves with less distinction than the Rudolfo here in question. No this is not the Beecham Boheme, the Tebaldi-Bergonzi Boheme, but we already have them. I'm listening to the Bocelli Boheme as I write. I cannot agree with those who damn it outright for the sake of doing just that. It was recorded for him, that's no secret. I'll put it up on my shelf with the Beecham and Tebaldi without shame.

This recording will bring Boheme hopefully to many thousands who perhaps would never had ventured on their own to buy the opera never mind to think of listening to it. I found the three tenors concerts after the first one to be gentle "travesties". Yet they brought opera to millions for the first time. I'll be very honest and say I put this Boheme above the second and third "Three tenor" concerts. Those who enjoy Bocelli should be encouraged to go and buy this recording, maybe to be the only opera recording in their CD collection. [...] and then for the pundits they can then buy a "real" Boheme on Decca, EMI, or RCA. In the meanwhile, they can hear beautiful music reasonably well sung, and often better than what, with wonderful sound and with their favorite tenor. Sounds good to me! Bocelli fans get out there and buy it. You not listening with the ears of the critics who sometimes don't always hear what we hear. They sometimes miss the forest for the trees (the instruments for the orchestra).

Bocelli first performed the role of Rodolfo - in February 1998 in Cagliai, the capital of Sardinia. Bocelli described it as a "dream come true" both critics and the public agreed with him for his performance was hailed as a triumphant success. Bocelli was described as being supremely suitable for the role by Lorenzo Marian, the director of the production he states that "Rodolfo was a poet, young, sincere, and ambitious but tender, and this is just like Bocelli himself - he described him as the most credible Rodolfo of recent years."

"Bocelli displays a sense of romance and melody that exalts the very essence of bohemian Rodolfo", quote from Franco Corelli, Bocelli's teacher and one of the greatest Rodolfos of the twentieth century himself.

Bocelli said that it was very important to perform an opera live on stage before recording it. He says "You learn so many necessary things. In the studio it's a different matter because you stop and start - and it's possible to look for a kind of perfection you can't get on stage. You never find it of course he adds but at least you can look for it!"

Bocelli has an innate musicianship that feels the inner rhythmic beat of the conductor and as soon as he feels him expanding a phrase, he follows it. Andrea never skips a beat, like some do in a performance.

La Boheme ranks with Carmen and La Traviata as one of the most performed pieces of music-drama ever written.

La Boheme tells the story of the doomed love of Rodolfo (a poet) and Mimi, (a seamstress.

In one of the most beautiful and powerful arias ever written Rodolfo tells Mimi of his life as a poet, of his ambitions and his attraction to her.

This is Bocelli at his most moving and shows what a deep thinker he is. He draws upon all his inner resources and one could cry at this aria it is so beautiful.

I cannot agree with some of the negative comments posted on La Boheme and would say to anyone who loves good music, listen to it and you will not be

If you love La Boheme, if you truly love every note, every passion, every nuance of character, you cannot help but love Andrea Bocelli's Rodolfo. When he sings this part, he is Rodolfo. Other tenors may bring louder voices, more impressive credentials, or greater critical acclaim, but no one brings more sincerity, beauty of expression, and excellence of characterization to the role. Please listen, really listen, to this recording, again and again. If you don't understand its perfection the first time, you will come to do so, unless your prejudices and preconceptions bar the way.