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| Disc: 1 | |||
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| 1. La bohème, opera: Quadro Primo: Questo Mar Rosso Mi Ammollisce E Assidera | |||
| 2. La bohème, opera: Quadro Primo: Pensier Profondo! | |||
| 3. La bohème, opera: Quadro Primo: Legna! - Sigari! - Bordò | |||
| 4. La bohème, opera: Quadro Primo: Si Può? | |||
| 5. La bohème, opera: Quadro Primo: Lo Resto Per Terminar L'articolo Di Fondo | |||
| 6. La bohÃ..me, opera: Quadro Primo: Chi È Là ?1 - Scusi | |||
| 7. La bohÃ..me, opera: Quadro Primo: Si Sente Meglio? | |||
| 8. La bohÃ..me, opera: Quadro Primo: Che Gelida Manina | |||
| 9. La bohÃ..me, opera: Quadro Primo: Si. Mi Chiamano Mimi | |||
| 10. La bohème, opera: Quadro Primo: O Soave Fanciulla | |||
See all 16 tracks on this disc
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| Disc: 2 | |||
| 1. La bohème, opera: Quadro Terzo: Ohè, Là, Le Guardie! Aprite! | |||
| 2. La bohème, opera: Quadro Terzo: Sa Dirmi, Scusi, Qual' È L'osteria | |||
| 3. La bohème, opera: Quadro Terzo: Mimi! - Speravo Di Trovarvi Qui | |||
| 4. La bohème, opera: Quadro Terzo: Marcello. Finalmente! | |||
| 5. La bohème, opera: Quadro Terzo: Mimi È Una civetta | |||
| 6. La bohème, opera: Quadro Terzo: Mimì È Tanto Malata | |||
| 7. La bohème, opera: Quadro Terzo: Donde Lieta Uscì Al Tuo Grido D'amore | |||
| 8. La bohème, opera: Quadro Terzo: Dunque È Proprio Finita! | |||
| 9. La bohème, opera: Quadro Quarto: In Un Coupé? | |||
| 10. La bohème, opera: Quadro Quarto: O Mimì, Tu Più Non Torni | |||
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See all 14 tracks on this disc
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To begin with, this Bohème features a young cast--all in their 30s--of some of today's most characterful singers who together convey the necessary vital sense of ensemble. Angela Gheorghiu and Roberto Alagna (the couple first met performing the opera at Covent Garden) bring overwhelming chemistry to Mimì and Rodolfo. For once, we hear the arias of their famous encounter in Act I not as set pieces but as part of a larger momentum in which both are swept up. Alagna, with a thrillingly full sound to his top range, portrays a many-faceted Rodolfo, from dreamy poet and ardent lover to the man broken by loss, while Gheorghiu's radiantly sympathetic Mimì is a study in the use of subtle vocal coloring to dramatic effect. Elisabetta Scano sings an unusually light-voiced Musetta, as transparent as a boy soprano--a fascinating contrast to Simon Keenlyside's robust and charismatic Marcello.
Chailly's urgent, unsentimental approach to the score is, quite simply, a revelation, and the story moves forward briskly. His insight into tempo relation between the "big" numbers and transitional sections highlights Puccini's effect of comic high spirits mingling with intense pathos. Whether it's the aching solo cello in "Mi chiamano Mimì" or the impeccable diminuendo of the final tragic bars, Chailly's well-known mastery of detail foregrounds a lucid variety of colors and dynamics from La Scala's orchestra--its first recording of the opera in more than 30 years--that are often neglected in the music. The result is categorically a Bohème for our time. --Thomas May
So what are you waiting for, get the best La Boheme ever!! Now!!
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!
Yes, Pavarotti can hit all those high notes. Yes, Alagna is sweet of tone. But somehow, he can't match Domingo's intelligence of portrayal. And Freni simply cannot match Caballe's exquisite piannisimi. Neither can Gheorghiu. Caballe is, well, Caballe. You can't replace Caballe with Freni or Gheorghiu. It just doesn't work. Freni & Gheorghiu work well in theatre because she is beautiful. But when it comes to the voice, CABALLE is the ultimate Mimi.
And Karajan's conducting is simply too "beautiful". Where is the drama??? This is typical smooth and lots of legato Karajan without much else in it. Yes, it is beautiful but devoid of "verismo". Chailly is too inexperienced.
I guess this forum must be flooded with Pavarotti fans & Alagna. Fact is I owned the Karajan set for a long time slightly dissatisfied. I was told that that is the best. But it goes to show how influential critics can be. Whatever they say, the public just swallow - lock, stock and barrel. Then I bought the Chailly. But it still didn't work.
If you want to hear a REAL Boheme, get the Solti. After waiting a long time, I decided to explore the Solti set, and now I finally understand what Boheme is all about.
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