La bohème, sung by Renata Tebaldi & Placido Domingo (1966, Boston)

(Read below for my remarks on Placido Domingo and greatness.)

Sì, mi chiamano Mimì... O soave fanciulla from Giacomo Puccini's La bohème, sung by a still splendid Renata Tebaldi as Mimì and and the justifiably great Placido Domingo (read my remarks below) as Rodolfo in Boston in 1966. The conductor is Vincent la Selva.

On another note, may I express my annoyance at the many Domingo bashers here on Youtube. Perhaps it is because he tried to popularize opera and people feel like opera should be an exclusive art, but I have observed that so many talk only about his so-called technical fallacies - namely, temperamental high notes and (later on) some inconsistent breath control - while completely dismissing his artistry, musicality, and (vocal/physical) acting. It is sheer arrogant elitism, always coming from the same people who praise the likes of, say, Tebaldi, Di Stefano, and Corelli to no end. I love Tebaldi, Di Stefano, and Corelli too; they are three of my absolute favourite singers. In fact, Tebaldi is my second favourite soprano. But facts are facts. I sometimes don't mind the metal in Tebaldi's high notes (it is even thrilling sometimes), but after 1960 (and even in the late 50s) they were just flat. And by flat, I mean near-semitone flat. But - oh - let's ignore that and pretend that they are still 'glorious' and 'perfect.' And Di Stefano's technique in the high notes and passagio? Nonexistent after his great, lyrical period. Of course (and like Domingo) he sang great high notes here and there. His high C messa di voce in Salut! Demeure, chaste et pure is perhaps the greatest tenor high note ever. Yet the arrogant Domingo bashers seem not to call Di Stefano any less great despite his singing painfully flat and open high notes in as early as 1952. (Just listen to the Mexico City La donna è mobile & A te cara.) These detractors also seem not to mind that the great Franco Corelli was just plain amusical in much of his prime and often painfully barked his way through performances in the 1970s.

My point is, the great artists are the ones that can make us forgive them for their musical/artistic flaws because they compensate with extraordinary artistry and/or technical ability. Domingo qualifies. You can't do what he has done without possessing something special. NO singer is flawless. Not even Caruso (who was often not so musically nuanced), Ponselle (who exhibits sheer campiness in Traviata & has high note phobia), or Ruffo ('lack of technique?'). But we over look their flaws. Shouldn't we measure Domingo's work with the same criteria?

Category:

Music

Tags:

• Renata
• Tebaldi
• Placido
• Domingo
• Boheme
• Giacomo
• Puccini
• Mimi
• Rodolfo
• soave
• fanciulla
• chiamano
• Boston
• Vincent
• Selva
• Opera
• Classical
• Music

[Mapman923]

This is pretty good. Who is the conductor? He is one her wave-length and lets her do her thing and soar when she wants, but he keeps Domingo on a short teather.

[VivaMariaCallas]

@Mapman923 The conductor is Vincent la Selva.

[TheValdoro]

a lovely round poetic high note at the end has the enthusiastic audience aplauding even before it was finished,and why,i hear you ask,did they interrupt............they could,nt help themselves!

[NoMoreNooblets]

I typed in "Boston Basher", and I get this?!

[happywealthyme]

I just wish I could have seen all of them live - --line them up -- It's such a pleasure just to be able to listen to the recordings - I can't imagine them live - sigh.....

[carclamcc]

THE ONLY WAY TO SING THE DUET IS THAT THE TENOR MUST NEVER COMPETE WITH THE SOPRANO IN THE FINAL HIGH NOTE. THE DUET MUST BE SUNG AS PUCCINI PUT IT IN THE SCORE. POETRY MUST BE PRESERVED.

[VivaRenata]

@cleanears Thank you, you certainly do have clean ears! Renata is amazing, as always!

[Erdrick345]

I completely agree with you, viva but I put Maria and Renata in both their primes on equal footing. They were completely different in their singing styles and both were truly great. As far as tenors are concerned any ju8dgement insofar as standing is concerned is subjective,. I put Enrico as number one and Jussi and Beniamino as seconds...and then the rest. I am also a great fan of Placido and prefer him over Luciano for sure. Chao!

[cleanears]

Brava Renata! Keep the tenor... I'm not a fan.