Puccini La Bohème
View record and artist detailsRecord and Artist Details
Composer or Director: Giacomo Puccini
Genre:
Opera
Label: Nimbus
Magazine Review Date: 3/1995
Media Format: CD or Download
Media Runtime: 101
Mastering:
Mono
ADD
Catalogue Number: NI7862/3
Tracks:
Composition | Artist Credit |
---|---|
(La) Bohème, 'Bohemian Life' |
Giacomo Puccini, Composer
Afro Poli, Marcello, Baritone Aristide Baracchi, Schaunard, Baritone Beniamino Gigli, Rodolfo, Tenor Carlo Scattola, Benoit, Bass Carlo Scattola, Alcindoro, Bass Carlo Scattola, Benoit, Bass Carlo Scattola, Alcindoro, Bass Carlo Scattola, Benoit, Bass Carlo Scattola, Alcindoro, Bass Duilio Baronti, Colline, Bass Giacomo Puccini, Composer Licia Albanese, Mimi, Soprano Milan La Scala Chorus Milan La Scala Orchestra Nello Palai, Parpignol, Tenor Tatiana Menotti, Musetta, Soprano Umberto Berrettoni, Conductor |
Composer or Director: Giacomo Puccini
Genre:
Opera
Label: VAI Audio
Magazine Review Date: 3/1995
Media Format: CD or Download
Media Runtime: 104
Mastering:
Mono
ADD
Catalogue Number: VAIA1078
Tracks:
Composition | Artist Credit |
---|---|
(La) Bohème, 'Bohemian Life' |
Giacomo Puccini, Composer
Aristide Baracchi, Schaunard, Baritone Aristodemo Giorgini, Rodolfo, Tenor Carlo Sabajno, Conductor Ernesto Badini, Marcello, Baritone Giacomo Puccini, Composer Giuseppe Nessi, Parpignol, Tenor Luigi Manfrini, Colline, Bass Milan La Scala Chorus Milan La Scala Orchestra Rosina Torri, Mimi, Soprano Salvatore Baccaloni, Benoit, Bass Salvatore Baccaloni, Benoit, Baritone Salvatore Baccaloni, Alcindoro, Baritone Salvatore Baccaloni, Alcindoro, Baritone Salvatore Baccaloni, Benoit, Baritone Salvatore Baccaloni, Alcindoro, Bass Thea Vitulli, Musetta, Soprano |
Author:
The wool-gatherings of nostalgia being finished for the season, younger readers may come in. Here are two venerable Bohemes, both from the HMV catalogue, one made in 1928, the other ten years later. The progress in recording technique is notable, though more so if the EMI transfer of the Gigli set (5/90—nla) is used for comparison rather than the Nimbus. The Nimbus process dulls the orchestra, and, while I still enjoy the voices, there is no doubt that EMI captured far more by way of consonants and 'top' in general. VAI have had a harder job with the earlier recording. Crackles and signs of deterioration towards the end of the original sides remain in some degree, and they have not been very subtle in dealing with the take-over from side to side (in which Nimbus are excellent). Still, the voices are vivid and a genuine sense of involvement comes through, which is what matters most.
Perhaps 'what matters most', however, are the singers themselves. The second recording has always been known as 'the Gigli Boheme', and for Gramophone's original reviewer, H. F. V. Little, that was decisive. ''Buy it!'' he advised, though he clearly thought poorly of the others in the cast, including Licia Albanese and Afro Poli. Personally, I liked them more this time round than ever before. Poli has just the right warmth of voice and liveliness of manner for Marcello (Ernesto Badini on the other set is much too dry of tone), and the young Albanese, her voice in lovely condition, sings with feeling and character, especially in the later acts. As for Gigli, he (I find) is adorable from the chuckle of his first phrase to the unrestrained weeping of the close. The beauty of voice is often overwhelming, and he is still the most fully human Rodolfo on record.
Aristodemo Giorgini, the Rodolfo on the VAI, has nothing comparable to offer, though he does have a name. As those with a special interest in singers of the early years will know (and a recital recently issued by The Record Collector magazine confirms—to be reviewed later), Giorgini had been one of the very best lyric tenors of his time. But in 1928 he was in his fiftieth year and no longer the jeune premier. His voice retains its firmness and sometimes sounds well (as in ''Invan nascondo''), but he seems small and too nearly the comprimario (Pang or Pong or even Goro). Rosina Torri (the first Liu), on the other hand, is a most sympathetic Mimi, lovely in the Farewell solo. I also rather like the juicy bass of Luigi Manfrini, blowing a kiss to the coat in between ''Addios''. The Schaunard (Aristide Baracchi), incidentally, is common to both recordings.
The two sets are not necessarily in competition, but it should be added that Nimbus have put together a handsome booklet, while VAI limit themselves to a brief note about the recording and include no libretto or synopsis.'
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