Subject: I have found a CD that I think you would enjoy
|Giacomo Puccini, Alberto Erede, Fernando Corena|
Puccini: La Bohème (Tebaldi, Prandelli, Erede)
Listen to Samples
Similarly Requested CDs
Goodwin Deacon | Seattle, WA USA | 10/16/2000
(5 out of 5 stars)
"I have always found this Boheme to be one of the most moving sets on record. The young Tebaldi was a perfect Mimi, rich in voice but able to deliver youth, fragilty, and intimacy as well. I also am completely won over by Prandelli's gentle Rodolfo. Unlike other, more "stellar" tenors, Prandelli actually sings and banters like the sweet Parisian poet he portrays. He makes other tenors, Bjoerling and Gigli aside, sound like boors. Gueden is a little tart, but then so is Musetta. Erede was never a profound conductor, but his artless quality goes to the core of Boheme. The sound is monophonic, but very very clean. I have many Bohemes and have affection for all of them. But this Boheme is special. Considering the ridiculously small sum this Decca Double set goes for, why deny yourself any longer?"
No man ever cried like Giacinto Prandelli
Impostazione | New York City Area | 08/22/2005
(5 out of 5 stars)
"Buy this recording for Prandelli and perhaps for one of my favorite Hilde Gueden. Tebaldi is wonderful too, but I prefer her later recording of Boheme, which captures her in more passionate and warm voice. Gueden is one of the best singers of Musetta, not only is the voice lovely of timbre and texture, but the charm of her delivery is captivating. Her top is full sheen! Brava!
But Prandelli is the star to me. I have come to know his artistry from the Fedora with Caniglia, which is utterly ravishing, an Adrianna with the text centered and dramatic Carla Gavazzi, and now this Boheme. I have never cared for the emotionalism of a tenor. It all sounds the same and somehow "tenorized", and for some reason the depth is usually lacking with tenor emotions. There are, however, some exceptions... especially among the dramatic tenors, McCracken comes to mind first. But with Prandelli one is treated to good old fashioned tears, the kind that pass the heart and enters the soul. He can turn that light, fantastical, thread of a voice into a virile expression of a man's most profound inward state. Listen to the venom in "Mimi e una civetta", then the reflection in "Mimi e tanta malata" What a match for La Callas he would have been. Such a talent is common among sopranos and mezzos, but ever so rare among tenors. Prandelli is my new favorite and treasure to those who thought that Rodolfo, Alfredo, and the like were cookie cutter creatures (granted Alfredo is a hard job), but Prandelli is tenor with no equals in my opinion, humble as it may be.
Erede is not my favorite, but he keeps Tebaldi well within the tempi, which she, with that luxurious voice of hers occasionally extends. An experience to treasure!!!!"
One of the Great La Bohemes!
Armindo | Greece | 12/16/2000
(5 out of 5 stars)
"This is Renata Tebaldi's alternative, first recording of the role of Mimi. There is no doubt that she is the best Mimi you'll find so I will not say how moving her performance is etc but I'll just compare this edition with her later, the one with Carlo Bergonzi as Rodolfo.This recording is in Mono sound. Even though the quality is very good it still is mono and this diminishes it's actual value. The orchestra is conducted by A. Erede, also the conductor of Tebaldi's first Butterfly. I don't know much about conducting but T. Serafin's result touches me more. As I said before Tebaldi is alternatively wonderful here so she gives us a more powerful voice for Mimi. Her later, gentler performance, however, suits the role of Mimi more, and I'd say ideally. Prandelli is not a star Rodolfo (like Bergonzi) but sings wonderfully allthough I prefer the uniquely warm voice of Carlo Bergonzi. Last but not least the Musetta and Marcello excel in comic act so the result is overally ravishing. Especially the Musetta Gueden has given us is vocally more suitable than D'Angelo's (on the 1959 decca set)Concluding this is a fine edition, among the best of La Boheme but if I really had to choose between the two recordings of Renata Tebaldi, I'd choose the 1959 version. I fortunately don't, so I own them both!"