An audio-only recording of a performance of BOHEME given at Macerata in 1977 with Raina Kabaivanska (Mimi), José Carreras (Rodolfo), Elvida Ferracuti (Musetta). Rolando Panerai (Marcello), and Carlo Cava (Colline). Ferruccio Scaglia conducts.
Listen here.
The sound of planes passing over is an occasional distraction.
Soprano Lina Cavalieri was considered one of the great beauties of her day.
The inimitable Suzanne Danco (above) sings Claude Debussy's Ariettes oubliées: six song settings of poems by Paul Verlaine. Published in 1903, the songs were re-workings of originals composed between 1885 and 1887. The composer dedicated the score to soprano Mary Garden, his ‘unforgettable Mélisande’.
Debussy ~ Ariettes oubliées - Suzanne Danco - Guido Agosti piano
Helen Traubel sings - magnificently - Isolde's Narrative and Curse from the first act of Wagner's TRISTAN UND ISOLDE.
Helen Traubel - Isolde's Narrative and Curse - Rodzinski cond
"With the gleaming sword,
I stood over him,
Ready to avenge Morold's death.
He looked up - not at the sword,
not at my hand -
he looked into my eyes.
His anguish
touched my heart.
The sword...I let it fall!
His wound I healed so that he could travel homeward...and no longer trouble me with his gaze."
Above: Maria Agresta and Charles Castronovo in LA BOHEME; a MetOpera photo
Saturday January 22md, 2022 matinee - This performance had its ups and downs, The conducting of Carlo Rizzi was hit-or-miss; he sometimes allowed the orchestra to swamp the singers. But I did like his speedy take on the first several minutes of the Cafe Momus scene.
Charles Castronovo repeated his very persuasive Rodolfo from the November run. His singing is emotional without straying from the notes, and he has both power and subtlety in perfect measure. His Mimi this afternoon, Maria Agresta, sounded sadly out-of-sorts, her vibrato prominent, and her highest notes not entirely comfortable. Offsetting these reservations was her congenial phrasing and some lovely piano effects.
Lucas Meachem (above) was a magnificent Marcello, making every phrase count. The voice is large and warm, and he handily dominated the ensemble 'reprise' of the "Musetta Waltz" theme in Act II. His duet with Ms. Agresta in Act III was impressively sung. Gabriella Reyes screeched and shrilled Musetta's lines at first, but settled in for a nice rendering of the Waltz; I feel that she might be better cast as Mimi.
Alexander Birch Elliott was a fine Schaunard, despite having to cope with lacklustre conducting from Mr. Rizzi. I liked Peter Kellner's Colline very much, too, but the thought of enduring a second Gelb intermission caused me to head home without hearing his "Vecchia zimara".
The House was substantially full, and there was surprise applause after the Bohemians dismissed Benoit in Act I. Lots of noisy chatter from the ceiling lighting bay during Act I was distracting, and the interminable first intermission simply killed whatever dramatic impetus the opera had going.
Metropolitan Opera House
Janaury 22nd, 2022 matinee
LA BOHÈME
Giacomo Puccini
Mimì....................Maria Agresta
Rodolfo.................Charles Castronovo
Musetta.................Gabriella Reyes
Marcello................Lucas Meachem
Schaunard...............Alexander Birch Elliot
Colline.................Peter Kellner
Benoit..................Donald Maxwell
Alcindoro...............Donald Maxwell
Parpignol...............Gregory Warren
Sergeant................Jonathan Scott
Officer.................Ned Hanlon
Conductor...............Carlo Rizzi
~ Oberon