Customer Reviews

Puccini: La Bohème (Tebaldi, Prandelli, Erede)

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I have always found this Boheme to be one of the most moving sets on record. The young Tebaldi was a perfect Mimi, rich in voice but able to deliver youth, fragilty, and intimacy as well. I also am completely won over by Prandelli's gentle Rodolfo. Unlike other, more "stellar" tenors, Prandelli actually sings and banters like the sweet Parisian poet he portrays. He makes other tenors, Bjoerling and Gigli aside, sound like boors. Gueden is a little tart, but then so is Musetta. Erede was never a profound conductor, but his artless quality goes to the core of Boheme. The sound is monophonic, but very very clean. I have many Bohemes and have affection for all of them. But this Boheme is special. Considering the ridiculously small sum this Decca Double set goes for, why deny yourself any longer?

This is Renata Tebaldi's alternative, first recording of the role of Mimi. There is no doubt that she is the best Mimi you'll find so I will not say how moving her performance is etc but I'll just compare this edition with her later, the one with Carlo Bergonzi as Rodolfo.

This recording is in Mono sound. Even though the quality is very good it still is mono and this diminishes it's actual value. The orchestra is conducted by A. Erede, also the conductor of Tebaldi's first Butterfly. I don't know much about conducting but T. Serafin's result touches me more. As I said before Tebaldi is alternatively wonderful here so she gives us a more powerful voice for Mimi. Her later, gentler performance, however, suits the role of Mimi more, and I'd say ideally. Prandelli is not a star Rodolfo (like Bergonzi) but sings wonderfully allthough I prefer the uniquely warm voice of Carlo Bergonzi. Last but not least the Musetta and Marcello excel in comic act so the result is overally ravishing. Especially the Musetta Gueden has given us is vocally more suitable than D'Angelo's (on the 1959 decca set)

Concluding this is a fine edition, among the best of La Boheme but if I really had to choose between the two recordings of Renata Tebaldi, I'd choose the 1959 version. I fortunately don't, so I own them both!

I stumbled on this set when looking for a low-priced Boheme. After sampling it on Amazon, I had to hear the whole thing.

I got interested in opera in the mid 1970's. By that time, Tebaldi was pretty much retired. She might've been doing some concert tours (maybe with Franco Corelli), but I never got the chance to hear her live. Her recordings at the time were sometimes harsh and squally sounding.

At the time of Maria Callas' death, the press mentioned the competition between the two singers during the late 50's-early 60's, but I never heard a recording of Tebaldi that impressed me. I had pretty much forgotten about Tebaldi.

When listening to the samples of this recording, Tebaldi's singing took my breath away. Her voice was so young and fresh, and her interpretation was so free and natural. I had to hear the whole thing. I just finished listening to this recording, and am delighted that it is now a part of my collection.

More modern ears may think the mono recording (remastered or enhanced someway, I am guessing) lack depth, but I am fine with the lighter tone. Certain passages just sparkle.

Also, the tenor is very fine. He has a lighter voice, and his interpretation is lively, sweet and passionate.

This recording is a bargain, and a delight.

Bohème de absoluta referencia. Sonido magnífico. Estupendos cantantes: Quizá los haya más dotados (con excepción, claro está, de la Tebaldi) pero no más convincentes. La batuta, soberbia, excelente acompañante de las voces. Una versión arquetípica, sin afectación, de las que no cansan.

It was wonderful. Tebaldi defines Mimi. Prandelli is very under-rated. It's one of those recordings that should never die.