The big news here is supposed to be that this is the first recording of the “new critical edition” of this opera, with no fewer than 181 amendments to the score as we’ve always known it. Many of them are outlined in the set’s notes, but frankly, the only one I’d have noticed, were it not pointed out, is a nice flute line that goes along with the harp right after the start of “Che gelida manina”. But for me the big news here is the work of opera’s golden couple, the Alagnas. They’re a terrific Rodolfo and Mimi. Angela Gheorghiu continues to impress. Her voice has a grain through it that’s both sexy and touching. She inflects well, and the sound is healthy from top to bottom. She indulges in no exaggerations as Mimi and moves us at every opportunity. I love how her voice opens up in her first aria just when it should—she is as fine an interpreter as Freni was, and that’s saying a lot.
Roberto Alagna also is at his best. He still tends to oversing at times and can occasionally fly a bit sharp, but the tone is beautiful and his innate sense of where the musical line goes is most welcome. The top notes ring, the playful banter is natural, the feelings seem sincere–in short, a real pleasure. Simon Keenlyside’s Marcello is quite good without really being a well-rounded portrayal, and the same can be said about Elisabetta Scano’s non-annoying Musetta. Roberto De Candia’s Schaunard is not particularly good, but Ildebrando d’Arcangelo makes a nice Colline. The orchestra and chorus do beautifully by Chailly, who contributes a note about tempos and other details in the booklet. His tempos, by the way, are brisk and no-nonsense; indeed his approach could be called anti-Karajanish and no one would argue. This is a valuable addition to the recorded Bohème literature.
