Customer Reviews

Puccini - La Bohème / Alagna · Gheorghiu · Scano · Keenlyside · D'Arcangelo · Di Candia · Chailly

5 star:		(9)
4 star:		(10)
3 star:		(3)
2 star:		(0)
1 star:		(3)

 

 

It's always interesting, to me, to read others' reviews of "La Boheme." As the most popular opera in history, any new or different recording is always guaranteed to get a rise out of people, and time and again any newer version gets automatically compared to one of the four "golden" sets of the past. Top of everyone's list, it seems, is the de los Angeles-Bjorling-Beecham set, followed by the Freni-Pavarotti-Karajan, Albanese-Peerce-Toscanini, and (for those of us who can abide old-time sound) the Albanese-Gigli-Berretoni recording.

Every single one of these recordings has merits, yet every one also has serious flaws. The Gigli set is the liveliest and most charming performance on record, but it is musically inaccurate throughout--largely due to Gigli, for whom "Boheme" was more of a personal comedy act than an opera whose music should be respected. Yet Tatiana Menotti is by far the best Musetta on records, having a full and lively (if somewhat overbrilliant) voice. The Toscanini set has the best conducting of any Boheme, and Albanese in much better form, but it suffers from a Rodolfo (Peerce) with absolutely no charm or romance in him, and a pallid Musetta (Ann McKnight) who makes some serious musical mistakes that should have been corrected. The Beecham set suffers from the really terrible singing of Lucine Amara as Musetta and a "hothouse" Mimi and Rodolfo who, for all their vocal luster, never convince you that they are passionate young lovers. And the Karajan set has too-slow tempos, a really nasty-sounding kids' chorus, and the blandest Musetta ever in Elisabeth Harwood.

What's funny is that each of these "classic" Bohemes were considered duds in their day. The Gigli set was always punished for its musical inaccuracies. When the Beecham set came out, the reviewer for High Fidelity compared it unfavorably to the Gigli set and an early Tebaldi recording. I can still remember reviewers complaining that the orchestra and chorus were somehow playing the wrong notes at the end of Act 2 in the Karajan set, and how he drowned out his singers with bombastic fortes. The stereo "Bohemes" that were praised by critics in their day were the Thomas Schippers set with Freni and Nicolai Gedda, and the James Levine version with Scotto and Domingo. Both were heavily touted and, for a while, sold well, but both have sunk without a trace in favor of Berretoni, Toscanini, Beecham and Karajan.

I honestly feel that this "Boheme" is going to join the ranks of these "immortal" performances as time goes on. For one thing, it is the liveliest "Boheme" in the interplay of the characters since the Gigli set. For another, Gheorghiu and Alagna sing with a tonal beauty and passionate commitment not heard since Freni and Pavarotti. And, thirdly, Chailly's conducting seems to combine BOTH the headlong forward rush of Toscanini with the tender accents of Beecham--a potent combination, in my view. The one detriment to the set is, again, the Musetta, but since they hired Elizabeth Scano and not Hei-Kyung Hong, they got what they paid for. (It's possible that Scano and Chailly are an "item": I notice that she turns up with regularity on his recent recordings, for no reason that seems connected with her limited abilities.) Scano has a thin, small voice with a touch of nasality; she is no Tatiana Menotti; but she is still far better than McKnight, Amara or Harwood.

Ultimately, your decision will be based on what YOU hear and expect from a "Boheme" recording, and everyone's taste and experience is different; but if you like the liveliness of the Gigli set, the briskness of Toscanini and the sentiment of Beecham, and if you are being open and fair-minded, you will find that this performance combines the virtues of all of these while sidestepping many of their detriments.

I have owned this recording for about a year now, after much anticipation to experience Angela Gheorghiu's Mimi in its entirety. Also, this is afterall the opera which began the great partnership of the duo d'amor. They were even even wed backstage during an intermission of a performance. So when I listen to their performance, I know their passion is genuine. There is much debate as to which is the ultimate La Boheme. Many music lovers tend to turn to the Karajan and Beechman versions(which are indeed memorable) and measure all by these standards. However, on this latest recording, the last part of Act One, Act Three, and the death scene in Act Four really set a new standard in the art of interpretation. Never have I heard such passion! Gheorghiu and Alagna magically bring the famous star-crossed bohemian lovers to life! Alagna sings a wonderfully ardent and appropriately agitated Rodolfo,(one of his finest, if not his finest role), and Gheorghiu's Mimi is vividly vulnerable, sentimental, and tormented. I have heard what many people consider the standard- setting recordings, and these two hold their own--if not surpass them. Afterall, as great as the singers of these roles were, none of them had the advantage of real-life passion for one's operatic romantic partner to feed their interpretation.

For the most part, the rest of the cast comes through as well with vivid and youthful portraits of the delightful bohemian gang. You feel like you are really with these lovable characters, living as Murger put it "A gay life, but a terrible one!". The weakness for me on this recording is the Act Two, when Musetta is put in the limelight. Elisabetta Scano puts forth a vivid interpretation, but her voice (though remarkably clear) is thin and shrill to the extreme. At this point, I put on the EMI version to listen to the stunning Ruth Ann Swenson, whose golden voice carries the scene (as Musetta is supposed to do) and puts all other recorded Act Twos to shame. Therefore I would strongly recommend owning both versions, to compliment each other. Now, if they could just get all the greatest singers and interpreters on one recording of La Boheme, that would be a miracle.

I couldn't disagree with Messrs. Music Fan and Hogseth more. This is a spectacular version of Puccini's greatest opera. I've listened to it several times now, and its power to move me only grows with each new hearing. The reviewer is on target about Chailly's pacing and nuance. He has the courage to wipe the slate clean from all the cliches that get in the way of what Puccini was about here, and it actually makes the opera an overwhelming experience.There are so any colors that usually get overlooked. As far as Alagna goes, this has to be one of his finest performances on disc. I confess that I'm not even a big Alagna fan; there's been a lot of hype about the "fourth tenor" and all that, but Alagna really manages to create a multifaceted Rodolfo. And Gheorghiu (at least we agree about that) is simply magnificent. Even her "coughing fits," which seem to raise objections, are far from the pathetic zombielike feigned sickness you hear in so many mediocre performances. She even comes close in the first act to suggesting the kind of dramatic poetry Maria Callas was a master of. Keenlyside adds a new dimension with his powerful Marcello, but the really extraordinary thing is how well this cast works together as an ensemble. There's much more chemistry than in the famous Karajan recording, which in my opinion has long been overrated. True, it doesn't replace the Thomas Beecham version (what could?), but it gives us a brilliant new angle on the opera. I also honestly don't find anything wrong with the balance between orchestra and singers (listen to the Solti if you want to be driven out of your mind). The sound is lively and present, and this is a Boheme I can cherish for a long time.

If you've not yet heard this new critical edition of perhaps the world's most beloved opera, purchase it now! This is the "new critical edition" of one of Puccini's finest moments!

Firstly, the sonics of the recording, the orchestra, and the casting (with the exception of Scano, whom is a terrible choice for the fussy, fickle Musetta) is outstanding. Together with the new score, expert conducting, and upbeat tempi (FINALLY!!!), I listened enthralled for the entire length of the opera. Each character is so incredibly believeable, and by the end of Act 4, you'll feel the desolation of their loss. I took a new interest to the often neglected Act 3 since this cast put their hearts into it. I don't care what anyone says, Pavarotti cannot act or put emotion into his Boheme to save his life!!!

The orchestra is perfect in Act 2, which is unusual to hear even in studio recordings because of the difficulty of this act's orchestration and perpetual motion.

My only qualm is with the casting of Elisabetta Scano. I cringe when I hear Musetta's "Quando me'n vo'" as she is used to singing Mozart, not dramatic, flashy, brash Puccini roles. Other than that, this CD is perfect!

The highlight of this recording is the magnificently sung Mimi of Angela Gheorghiu -- one of the best on disc, beautifully acted, as moving (and at least as beautiful in tone) as the legendary interpretations by de los Angeles and Freni. Along with Fleming, Gheorghiu has one of the loveliest lyric soprano voices singing today. Alagna makes a fine, ardent, and emotionally-involved Rodolfo, though his singing could be softer at times. Keenlyside brings his elegant baritone to Marcello. This singer is another standout (listen to his Don Giovanni, under Abbado, if you haven't already, for a brilliant and intelligent performance). His duet with Gheorghiu is a high point of the performance. I have many recordings of Boheme, but I know already that this is the one I will turn to again and again.

This is the best La Boheme ever! Period. Better than Karajan's, better than Beecham's. The Beecham is an outstanding performance but it is marred by poor sonics. The Karajan is sooo slooow. As great as that performance is, the tempi drags and the sonics (although in good Decca analogue) cannot compare with THIS!! THIS has the best sound ever - my goodness the sound itself ravishes your ears and carries you forward. Not to mention that Chailly takes appropriate tempi that DO NOT DRAG. But the glory of this set is the incredible tenor of Alagna and the incredible soprano of Gheorghiu. Alagna's voice is gloriously lyrical and beautiful. So beguiling to listen to and he is dramatically alive. Gheorghiu's voice too is exceptionaly beautiful and she is even better than Alagna!! She is simply magic!!

So what are you waiting for, get the best La Boheme ever!! Now!!

Yes, of course there are better La Bohemes in the catalogue, but this one is good and worth hearing. Best of all is Alagna's Rodolfo, I like him a lot, he is honest, italianate and has a fine sense of line. Whatever people say, I found him preferable here to the EMI version. I can't say I am a fan of Gheorghiu, sure her voice is pretty, and at present it is in good condition, but she lacks the ultimate in imagination and passion. Her Mimi is closer to Tebaldi's than to Callas, De los Angeles or Freni. If you just want the best stereo La Boheme, go for Karajan with Pavarotti/Freni and Panerai, if you can stand good mono sound it is between De los Angeles/Beecham and Di Stefano/Callas and Votto. This last recording is often overlooked, but Callas and Di Stefano give the finest third act on any recording, and Mimi's death is unbearably moving.

this is the most passionate boheme. alagna and gheorghiu simply sizzle, especially in act 1. alagna is a fine rodolfo but it's gheorghiu who really shines. her duet with marcello in act 3 is the best that i've heard. her voice is beautiful, especially in the higher registers where many sopranos become a little unsteady and shrill. in the lower registers, though, her voice is a little too 'thick' for mimi, who's supposed to be a frail, slight girl. it works against her in the first act. freni still sings the best 'mi chiaomano mimi' imho.

this set is supposed to be based on a critical edition of boheme, but unless you compare it with another i don't think you'll notice. the tempo is a little faster. the casting of scano is my only big criticism of this boheme. her voice is too light to sing musetta. listen to ruth ann swenson on the paponna set to see how the role should be sung.

a good boheme. i still think beecham's is the best boheme, but chailly's is worth a listen, if only to hear gheorghiu sing act 3.

This is one of the best Boheme Recordings in recent years. Gheorghiu's Mimi is second to none in my opinion. Alagna's Radolfo is captivating and full of charm. The first thing that struck me about this recording was the passion with wich Gheorghiu and Alagna delivered their performances. Simply Fantastic.

Special praise must also go to Riccardo Chailly for directing this boheme at a very agreable pace. Too often Boheme is directed at such a slow pace as to detract from the beauty of Puccini's music. That is certainly not the case here.

Now for the down side. The reason I can only give this recording four stars is the second couple in this opera. Elisabetta Scano has a beautiful voice however it is too soft and light for the firey Musetta. She would make a very credible Mimi if given the chance but she is much too soft for Musetta.
Simon Keenlyside's Marcello is not bad its just bland. His voice is in fine form but he lacks the passion delivered by Gheorghiu and Alagna.

In conclusion if you are a fan of the Gheorghiu-Alagna team or if you love Boheme and wish to hear it sung with a passion and pace rarely seen before, this is a must for your collection

Gheoghiu and Alagna have delightfully matched voices, youthful, passionate and vulnerably tender. I have tended in my later years to dismiss Boheme as a too-well-known pot-boiler of little interest for me. Not with these two - they have managed to create a Boheme revival for me, at times bringing tears to my eyes.