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My favorite Boheme

Michael K. Halloran | 07/02/2001

(5 out of 5 stars)

"In our age of international jet-setting, wunderkind conductors, concept-driven stage directors, and operatic superstars, sometimes it takes a performance that is over 60-years old to remind one just how good an opera can be. The only two "names" in this recording who are likely to be remembered today are Beniamino Gigli and Licia Albanese, and both certainly display the qualities that made them famous. Gigli's youthful, glowing tone embodies perfectly in aural terms the poet's character, while Albanese's delicately shimmering and mature-sounding voice (she was, in fact, considerably younger than Gigli) makes Mimi both the shy charmer and slightly more worldly woman we come to know later in the opera.It helps tremendously that these two really give themselves over to the characters and really listen to each other. Their scene in act one is a miracle of tone color and word-pointing, so that the listener feels as though he or she is hearing this music for the first time. Later, in act three, the drama darkens, and Gigli and Albanese do as well, keeping cheap sentiment at a minimum but character and drama at the forefront. Gigli does allow himself to join Albanese for the top C at the close of the first act, but with such a cherishable singer, it is a liberty that can be overlooked.The rest of the cast are equally adapt at bringing the text to life and creating their characters as if for the first time, providing ample and excellent support to their two star colleagues. Afro Poli as Marcello starts the opera off nicely and allows the brutish and suave sides of his character to coexist nicely, whereas most modern-day interepreters of the part seem to choose one or the other. His tone is full and blooming, turning coarse only under pressure. Tatiana Menotti fields a apt instrument for Musetta, without the shrillness or wiriness common to Musettas of the period. She colors her voice with a touch of acidity in the right places, such as the shoe episode in the second act or the quartet in the third. The rest of the cast is equally fine, balancing beautifully the light and shade within this opera.It cannot be mere coinicidence that a recording this good was made at La Scala by an all-Italian cast, orchestra, chorus, and conductor. Umberto Berrettoni leads his forces surprisingly well, considering the opera had to be recorded in 4-5 minute takes so as to fit on 78 sides. Only a few spots are rushed or indelicately handled.In summary, this 1938 recording is one of the glories of the pre-LP years. Unless you are completely allergic to the sound of vintage recordings, I urge you to hear this "Boheme" and experience for yourself this revelatory performance."