Overall, a perfectly decent performance of Boheme whose outstanding feature is the fresh-voiced, touching performance of Ileana Cotrubas, heard in her prime as Mimi. She did not record the complete role commercially, so this is a good opportunity to hear her at or near her best.

I am just waiting for it!

The first track of this set begins with an announcement (auf Deutsch) that Giacomo Aragall was suddenly indisposed and that Franco Bonisolli would be taking his place. I'm sure Aragall would have been great, but Bonisolli is heard here in his prime when he was still listening to and working with his colleagues. He sings a manly, passionate Rodolfo and gives an excellent account of "Che gelida manina" crowned with a ringing top C. Of course he joins Cotrubas on the C at the end of Act One - not musical, perhaps, but very exciting.Cotrubas is a lovely, sexy Mimi who sings extremely well. I was surprised the audience didn't applaud after her Act Three "Done lieta usci", but she is heartbreaking there and in the final scene. Taddei and Lotte Rysanek are terrific as the second couple. Giaotti is great as Colline, another one of those singers that was always good. Reid Bunger, a Vienna State Opera staple for years, is a lovable Schauard and Erich Kunz has a lot of fun as Benoit. Guadagno almost loses control of the ensemble a few times (the children in Act Two are unruly), but follows his singers well and indulges them when appropriate.The sound is from an in-house tape, recorded by someone close to the stage. The voices are always audible, the slight distance giving one a better sense of what they sounded like in the house.A Boheme for Boheme lovers!

If I were left with only one recording of La Boheme, I would not be unhappy with this one. Here as the main protagonists are two major singers in their prime. Cotrubas is a refined delicate Mimi. One can feel the frailty. Her Rodolfo, Bonisolli is poetic lover and gives a very attractive performance. His "Che Gelida Manina " with it's luminous high C is met with thunderous applause. He repeats the C at the end of act 1 duet as most tenors do, unfortunately. The lower alternative is the preferable artistic choice. But he is a tenor and after all he had a great high C.The great baritone Guiseppe Taddei is the Marcello. Here he is in his late 50's, and his voice is in marvellous condition. It is wonderfully expressive, beautiful with the signature heft to it.Lotte Rysanek is a Musetta who avoids being coy and is a force to be reckoned with.The renowned Erich Kunz, late in his career is an added interest as Benoit.The sound is good.

Bonisolli and Cotrubas: a great loving cuople!