Giacomo Puccini (1858–1924)
La bohème (1896)
Mimì: Mirella Freni (soprano)
Rodolfo: Nicolai Gedda (tenor)
Musetta: Mariella Adani (soprano)
Marcello: Mario Sereni (baritone)
Schaunard: Mario Basiola Jr. (baritone)
Colline: Feruccio Mazzoli (bass)
Chorus and Orchestra of the Rome Opera House/Thomas Schippers
rec. 1962-1963, Rome Opera House, Rome, Italy
Warner Classics 7696572 [2 CDs: 102]
This recording of La bohème had an interesting gestation. It had been originally planned as a stereo remake of the popular Beecham recording, with Jussi Björling and Victoria de los Ángeles reprising their roles. The initial sessions were planned for 1961 but had to be scrapped because of the premature death of Björling (at age 49). The next sessions in 1962 were only partly completed because de los Ángeles became ill, and wasn’t able to participate. Then, finally when everything was rescheduled in 1963, de los Ángeles had to drop out of the project entirely because of a pregnancy; EMI hastily brought in Mirella Freni to replace her.
What emerged from all of that rescheduling is a fairly good recording of La bohème under then celebrated conductor Thomas Schippers. Schippers almost seems as if he is two different conductors at once. During the music for the Bohemians, and all of the other music that doesn’t involve the lovers, he keeps everything under very tight control; getting crisp efficiency out of the Rome orchestra and chorus. For example, in the chorus that opens the second act, I have rarely heard it sound as disciplined and exciting as it does here. The chorus is very attentive to Schippers throughout the scene. Even in the choral commentary that accompanies the arrival of Musetta; their interjections are splendidly managed, back and forth from right to left channels, a brief but exhilarating bonus from the producer. Yet, Schippers’ musical personality seems to flip from efficiency to romantic ardor in the expansive approach he takes to the arias such as Rodolfo’s “Che gelida manina”, and Mimi’s “Sono andati”. In these very emotional numbers he takes a rallentando here and there which gives more the music a more expressive quality, although he does not take it to the extremes that Von Karajan did in his Decca recording (review). Schippers’ achievement would be a bit more obvious to the listener if the engineers had not placed the orchestra a little too distant in the sound mix. One can increase the volume to hear the orchestra better, but that also increases the volume of the singers who are more closely recorded.
The finest singing on this set comes from the enchanting Mirella Freni. This was one of her earliest complete opera recordings (coming after Alcina and Falstaff for Decca) Her voice and presence are very girlish here. She is blessed with a beautifully rounded sound with youthful bloom still evident in her tone (she was 28 when this was made). Interpretively she is charming and sincere, but listening to her later Decca recording shows that by 1972 she had developed a greater ability to project Mimi’s emotional journey.
Nicolai Gedda’s Rodolfo is one of the more subtle characterizations I have ever come across. He portrays the young writer as a rather shy character, who seems to emerge from reticence when he meets Mimi. In the earlier scenes he engages in the banter with his friends but doesn’t push himself too far forward, as other famous tenors do. This is a remarkably consistent characterization and a refreshing approach to Rodolfo. He sings with golden tone that opens out thrillingly in “Che gelida manina”, except for a high “C” that seems a little guarded. He also gets points in my book for choosing the lower option at the magical close of Act One, rather than belting out the off-stage high “C” as most other tenors do.
Mario Sereni is a fascinating Marcello; his solid voice and musicianship are augmented by a thrilling edge to his upper range. Once or twice that edginess sounds as if it might become unruly, but it doesn’t occur. His portrayal of Marcello’s directness, extroversion and jealousy seems even sharper in contrast to Gedda’s introverted portrayal of Rodolfo.
Mariella Adani is a light lyric soprano with a Chardonnay undertone to her sound. Unfortunately when she sings above “A” her tone begins to turn a little sour. Still, she conveys Musetta’s quicksilver temperament with a no holds barred approach. Her waltz song is charmingly done, except for a couple of the highest notes.
In the smaller roles, Feruccio Mazzoli is an attractive sounding Colline but he doesn’t convey much personality to the young philosopher. “Vecchia zimarra, senti” is sung with a smooth, even tone. Mario Basiola Jr is a bit of a liability as Schaunard; this Schaunard sounds as if he is transitioning to a not very comfortable sounding bass. Carlo Badioli is a gently animated Benoit, while Paolo Montarsolo is luxury casting as an unusually virile-sounding Alcindoro.
The recording is fairly successful apart from the slightly distant perspective on the orchestra. This is a pity because the Rome Orchestra plays at the top of their game for Schippers, who clearly got the best out of them. The engineering team has presented the music with a theatrical atmosphere but not attempting anything too much in the way of “staging”, as Decca was fond of doing at the time. However, they mistakenly do not include any of Mimi’s coughing in the third and fourth acts, something which is essential to the story.
Mike Parr
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Other cast members
Benoît: Carlo Badioli (baritone)
Alcindoro: Paolo Montasolo (baritone)
Parpignol: Vittorio Pandano (Tenor)
Doganiere: Giuseppe Giuliano (bass)
Mario Rinaudo: Rory Dunne (baritone)
Venditore: Antonio Dellaca (tenor)
