Musetta Aria from La Bohème

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In an attic apartment in the Latin Quarter of Paris, a group of young artists are living together in poverty. Their neighbour, the little seamstress Mimi, introduces herself, seeking a light for her candle, when Rodolfo is left alone.

Cast and vocal parts

They fall in love. Alcindoro is left to settle the bill for all of them.

Time has passed. Mimi has lived with Rodolfo, but they quarrel, because of his apparent jealousy.

Listen To This: That Unforgettable Aria From LA BOHEME | WRTI

He has planned to leave her, as we learn in a scene set on a cold winter morning by the city gates. Musetta, a contrast in character to the gentle Mimi, later returns to the attic apartment of the four young men, bringing with her the dying Mimi, whom they now try to comfort, but in vain, as she dies before their eyes of the consumption that has racked her. His version was first performed on 6th May at the Teatro La Fenice, Venice, and won immediate, if not lasting success of the same degree as Puccini's opera. The latter version is among the best known of all works in the current repertoire, a thoroughly romantic treatment, with an element of realism in its setting.

The score has provided singers with operatic recital repertoire, in particular the tenor Che gelida manina Your tiny hand is frozen , Mimi's Mi chiamano Mimi They call me Mimi , Rodolfo's O soave fanciulla O sweet girl and Musetta's Waltz. And you, while knowing, reminding and longing, you shrink from me?


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I know it very well: you don't want to express your anguish, but you feel as if you're dying! From Wikipedia, the free encyclopedia.

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Aria database site. Opera portal. Giacomo Puccini. Her entrance in Act 2 was marked by terrifically rambunctious behavior that included a piercing, but appropriate, scream when she pretended to have pain on her foot.

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In that same act she toyed with Marcello to emphasize her power; at one point she twirled her arm around him and watched his head spin around in circles. There was also a viciousness in the character as she threw plates on the floor and bullied Marcello in the third act argument; during this particular scene she seemed to relish the insults that she tossed his way.

In many ways it seemed that she was playing with him; it was a truly refreshing approach to the comical scene. She was gentle in her singing and pleading in her gazes toward Marcelo.