Anyone who has read my reviews knows that I am the biggest Freni fan imaginable. She does not disappoint me here. Yes, at this stage, her voice is a size too large for Mimi, more suitable for heavy verismo such as Tosca, Fedora and Manon Lescaut. The voice is far heavier than in her two previous studio recordings from the 60's and 70's. The vibrato is also a trifle wider than it was but all this is amply excused by her warmth and mature insight into the role. The tragedy of Mimi has never before been so heartfully portrayed. The emotions are stronger than before and by the end of the opera she totally hits her stride and a quarter of a century melts away. This is a must for all Freni fans.
Pavarotti, unfortunately, does not begin to match Freni's contribution. As many singers, such as Freni, experience a lowering of voice and a widening of vibrato, they become greater interpereters, greater artists. For Pavarotti, you don't find this. As his vocal resources diminish, so does his artistry. he sings faster than before, without as much inspiration. Still, he musters up some of the old magic and, in the end, provides a decent, if not splendid partner to Freni.
The rest of the cast is pretty darn good. The voice of Musetta may not be the most beautiful, but she provides much pleasure for this viewer. Quilico is a great Marcello! So is Ghiaurov as Colline, the one bass that can dominate an ensemble. The conducting doesn't set me on fire, but it's not bad.....serviceable. I love the staging and the sets.