This purportedly is Corelli's last appearance in opera so it's rather an emotional affair for Corelli fans. One can hear the voice isn't what it had been even five years earlier, but there still is enough there to create an impact. His emotional reaction to Mimi's death at the end would be deemed too much by most audiences today who are so used to the bland, understated acting of contemporary television and film. No matter: Corelli sounds completely sincere and broken-hearted. The audience is predisposed to love everything he does, but they're not uncritical: Corelli's voice falters momentarily towards the end of Act Three (at the phrase "a la stagion dei fior!") and there is a brief stirring of boos, quickly hushed by the rest of the audience. Italian audiences took their opera very seriously back then!Maliponte is a lovely Mimi whose detailed portrayal is warmly received by the audience. Cecilia Valdenassi is a first-rate Musetta and Angelo Romero a well-sung, characterful Marcello. Maurizio Mazzieri's Coat aria is enthusiastically applauded. The children in the second act are very mature. Sanzogno keeps the evening together handily.The sound is listenable, but one must be tolerant of the voices and the orchestra fading and then reappearing moments later. But, as Andy mentions above, this set is meant as a souvenir of a bittersweet occasion and it must be taken as such. Those looking for more reliable sound should look elsewhere.

For a career that began at an opening night new production of "la Vestale" at La Scala with Maria Callas directed by Luchino Visconti Franco Corelli began a spectacular career. To end it at Torre del lago deep in Puccini country as Rodolfo tells us much about him as an artist. He needn't have listening to it at this his (officially?) farewell performance. But that's how it was. The sound here is pretty raucous. It was open air. the cast fine considering the circumstances. It was his last operatic appearance.

The recording has its special value for Corelli's fans (like me) as it preserves his last on-stage performance in full opera production. His voice is not as strong as in his prime but Corelli still emanates from his special charisma. For me the performance is very touching despite poor quality of the recordings (resulting mainly from audience noises). The final moment is deeply moving once you realize it is in fact a farewell of Franco Corelli with the opera stage.

for Corelli fans

Corelli's farewell to Mimi rivals Gigli's 1938 recording with Albanese.