The soloists were booked, supporting roles sourced from the Met and Beecham pulled a scratch orchestra into shape. It was a sharp-eyed manager who midwifed Beecham’s fine Mono version of La bohème when he noticed that Beecham and just about the best Mimì and Rodolfo of their day, de los Angeles and Jussi Björling, would all be in New York in the Spring of 1956. Has anyone recorded a more tender ‘Che gelida manina’ in the past 40 years? The other Bohemians, notably Nicola Ghiaurov as Schaunard, are on form, and if Elizabeth Harwood’s Musetta is not enough of a tart when waltzing her lovers at the Café Momus, she is meltingly tender as Mimì lies dying. It helps that Pavarotti’s Rodolfo is arguably one of his finest recordings – ardent and accurate and in character too as the headstrong student engulfed by love. Or to the brassy glitter that introduces the miraculous second act at the Café Momus.) This is Mirella Freni’s second appearance on disc as Mimì and she is magnificent, the voice richer than before, the characterisation as delicate as ever – her Act III farewell duet with Rodolfo would make stones weep. (Listen to the pizzicato strings tiptoeing round Mimì and Rodolfo when they first meet. Herbert von Karajan understood every last detail in the score, and knew that the inner drama of the opera is played out in the orchestra in Puccini’s deft manipulation of his themes and the masterly orchestration. Please note that any bag may be subject to search upon entry.Īudience members will be required to wear masks at all indoor Spoleto Festival USA performances.To work its magic La bohème needs two things above all: a conductor who relishes every nuance in Puccini’s music and a Mimì who moves our ears as well as our hearts. Sung in Italian with English supertitles. Bold and unconventional, this fresh take is itself a bohemian work of art: experimental, nonconforming, original. From there, the opera plays scene by scene until the beginning, with its four starving artists preserved in eternal youth and dusted with the blush of love. Set in 19th-century Paris, our curtain rises on the final act of Puccini’s masterpiece. Times)-reimagines La bohème, taking us from devastation to hope, from loneliness and despair to the greatest joy of life. What if life didn’t end in death, but in a return to love? In this rewinding of a tragic tale, Yuval Sharon-“the most innovative opera director in the United States” ( The New York
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