This Bohème, studio recorded in 1952, is an interesting oddity. It is thoroughly idiomatic–the entire cast and conductor are Italian (less rare in the ’50s than during the last 25 years, but still worthy of note)–and at least four of the singers had illustrious careers. It seems as if the cast was quickly assembled, then quickly rehearsed and recorded. Each singer seems to have a fine hold on his or her solo numbers, with plenty of involvement and thought given to the text, and the major duets (Mimi-Marcello, Mimi-Rodolfo, Marcello-Rodolfo) show nice teamwork. Elsewhere, the performance has the aura of a run-through, with each participant just doing his part in the ensemble; and even in the Bohemians’ horsing-around scenes in both outer acts, there’s no real give-and-take–just counting and singing the words and notes. Odd.
At any rate, Rosanna Carteri is a very lovely Mimi, perhaps a size too small, but amazingly sympathetic–she often sounds near tears and it’s very engaging. The wonderful Ferruccio Tagliavini runs hot and cold. Eighty percent of the time he caresses phrases with great sensitivity, his legato and morbidezza are memorable, and the tone is handsome; then suddenly, he’ll start to yell and the tone becomes harsh. He takes his aria at the end of Act 1 down a half tone–high notes never were his best suit. Giuseppe Taddei’s Marcello is mostly fine, if a bit blustery, though he occasionally sounds as if he has wandered onto the sound stage accidentally. Cesare Siepi’s gorgeous voice does not make up for an utter lack of interest in the proceedings. The others are pretty forgettable, and the recording is on the shrill side, which further hinders the Musetta, who starts out that way. Those interested in the major players will want this; otherwise it’s a museum piece worth hearing once or twice.
