Track Listing

Disc 1:

1. Act 1: "Questo mar rosso"
2. Act 1: "Pensier profondo!"
3. Act 1: "Legna!"
4. Act 1: "Si può?"
5. Act 1: "Io resto"
6. Act 1: "Chi è la?"
7. Act 1: "Si sente meglio?"
8. Act 1: "Che gelida manina"
9. Act 1: "Sì. Mi chiamano Mimì"
10. Act 1: "O soave fanciulla"
11. Act 2: "Aranci, ninnoli! Caldi i marroni e"
12. Act 2: "Chi guardi?"
13. Act 2: "Viva Parpignol! Parpignol! Parpignol!"
14. Act 2: "Oh!... Essa!... Musetta!"
15. Act 2: "Quando men vo"
16. Act 2: "Chi l'ha richiesto?"

Disc 2:

1. Act 3: "Ohè là, le guardie! Aprite!"
2. Act 3: "Sa dirmi, scusi, qual'è l'osteria"
3. Act 3: "Mimì!"
4. Act 3: "Marcello. Finalmente!"
5. Act 3: "Mimì è una civetta"
6. Act 3: "Mimì è tanto malata!"
7. Act 3: "Donde lieta uscì al tuo grido"
8. Act 3: "Dunque è proprio finita!"
9. Act 4: "In un coupé?"
10. Act 4: "O Mimì, tu più non torni"
11. Act 4: "Si sgombrino le sale!"
12. Act 4: "C'è Mimì... c'è Mimì che mi segue"
13. Act 4: "Sono andati? Fingevo di dormire"
14. Act 4: "Che avvien?"

Product Details

• Amazon Sales Rank: #1636 in Music
• Released on: 1990-10-25
• Number of discs: 2

Amazon.com essential recording
From the exquisite phrasing of the opening orchestra, this recording establishes itself as the standard by which all others should be measured. Herbert von Karajan's orchestra is no less than perfect, as much a virtuostic performer as the singers, evoking each moment's unique mood. Can there be any doubt that Luciano Pavarotti and Mirella Freni were born to sing Puccini? Their sweet, creamy voices splendidly blend, creating a complete aural portrait of the bohemians' souls. Elizabeth Harwood is a wonderfully high-strung Musetta, with the vocal talent to support her many moods. The greatest recording ever of the world's most beloved opera. --Barbara Eisner Bayer

Amazon.com essential recording
The score for La Bohème comes to glowing life under Herbert von Karajan's baton, and Mirella Freni and Luciano Pavarotti make beautiful music together as the ill-fated lovers. The smaller parts are wonderfully sung, the comedy sharply profiled, and the pathos contained in such a way that the opera's ending proves remarkably gripping. London's sound is excellent. --Ted Libbey

Customer Reviews

Buy, listen, treasure
A long time ago, my father was driving my teenaged self somewhere as he listened to a cassette of "Pavarotti's Greatest Hits" on the car stereo. During "Che gelida manina", he tried to enlighten my ignorance as to what was special about it. "This is one of the great moments in opera," he explained. "The man sings this beautiful aria. Then the woman sings something even more beautiful. Then the two of them sing together and it's even more beautiful than that." I grunted in assent that it must be a whole lot of beautifulness and then returned my attention to whatever science fiction novel I was reading at the time.

Many years have passed since then. My father is dead, and I probably know more about opera now than he did. But, perhaps because of that conversation, the end of Act I still defines "La Boheme" for me. [Moral of the story for parents of teens: Keep sharing yourself with your kids, no matter how much they grunt at you. There's no telling what will stick.] If a performance doesn't convey Dad's Guinness-Book sense that opera really doesn't get any more powerful or moving than this, I have to consign it to the "Not Quite" file. Sorry Tebaldi/Bergonzi and Callas/di Stefano.

All of which is to set up my claim that Freni/Pavarotti are the ones who truly deliver the goods in this virtually impossible-to-sing scene. While di Stefano's voice has a marvelous bronze gleam and crisp pronunciation, he simply doesn't have the sheer tone power to compete with the strength of Puccini's melodies. When Rodolfo sings "In te ravviso / Il sogno ch'io vorrei sempre sognar!", the heroic notes demand that the tenor produce a sound that you would follow into battle. Here Pav unforgettably brings da noise - and "Yes, Giorgio" is forgiven all over again.

Freni is equally virtuosic in the soprano's milieu, somehow managing to convey a waifish bohemian as she robustly full-lungs her way through some of the most cruelly exposed high notes in the music. And how euphoniously their two instruments mesh in the duets! How confidently they surf the surging waves of Karajan's conducting!

I don't know what else to say except that it's all here. Every component of the recorded operatic experience - composer, conductor, musicians, and singers - exercising mastery at world-class levels. There is nothing to impede the plucking of your heartstrings until they fray and snap. If you can listen to the final offstage "Amor!" with dry eyes, there is something dead inside you - I'm sorry to say. I'm verklempt now just thinking about it.

So, yes - all the raves here are true. This is not just the best "Boheme", but one of the best opera recordings ever made. You know what to do.

Finally
YES.
Finally a great performance with great sound quality. This DECCA recording has it all. Perfect sound and amazing cast.

And what a cast!!

Pavarotti makes here (with some other Donizetti operas on record) one of his BEST performances ever. The voice shines! It is clear with beautiful ringing and healthy high notes.

I loved Freni. She delivers here a very wonderful sick and vulnerable mimi. Along with De Los Angeles, she made history of her performance here as mimi.

I cannot forget the very precious performance of Ghiaurov! Bravo.

And Karajan's recording...amazing (But I think comes second place after Beecham).

Well...nothing goes bad in this performance...on the contrary...it is just Perfect!

Qui son? Son un poeta!
I have returned to this recording, both on wax and on compact disc, for many years. Karajan displays an astonishing feel for the music of Puccini, and the ensemble of singers provides a delightful blend of voices which never fails to touch the heart of the listener. Elizabeth Harwood is a joy to hear as Museta. Freni is in this recording a Mimi beyond compare. This recording is an especially good display of the magnificent vocal gifts of Luciano Pavarotti. His voice is ripe, full, yet easy in this recording. There is, perhaps, no other recording of a complete opera which displays so clearly the fact that Pavarotti's voice is unusually large for a lyric tenor. Even so, his wonderful diction and phrasing make his Rodolfo truly delightful. This is Pavarotti singing serious music with joy! His voice, from the entrance in Act One is liquid sunshine. This recording is a must for every lover of Puccini!