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| La Boh�me |
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| Mimi |
| Sung by |
| Year |
| Elena Prokina |
| Mary Mills |
| Rosalind Sutherland |
| Donita Volkwijn |
| Queena Mario |
| Myrtle Donnelly |
| Maria Mueller |
| Helen Jepson |
| Vivian Della Chiesa |
| Rosanna Carter |
| Queena Mario |
| Queena Mario |
| Sung by |
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| Elena Prokina, a touchingly intimate Tatiana in her 1997 debut in Tchaikovsky's "Eugene Onegin," seems to have gained vocal heft at the expense of delicacy since then. ...As the doomed seamstress Mim�, her singing sounded blunt and labored, although she used those qualities to produce a potent torrent of emotion in Act 3. Her tendency to sing flat throughout didn't help matters./ Review |
| Olga Guryakova (Mim�)... Guryakova's Mimi seems close to dead on arrival in a largely moribund first act. Her aria and love duet with Rodolfo seem more a deliberate effort at resuscitation than anything approaching rapture./ Review |
| Lyric soprano role An embroiderer, beloved of Rodolfo |
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| SFO Mimi History |
| Aria Database for Mimi |
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| Licia Albanese |
| Stella Roman |
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| This site and all related sites are for entertainment and reserch and contains information that anyone can get by using a search engine, such as Google./ This site is a sub-site of SF ART World // Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License |
| The pure-voiced Myrtle Donnelly, a local girl, took over Mimi from Queena Mario in a Boheme repeat, but experience in smaller Italian towns didn�t prevent Mason form declaring �Of the art of acting Miss Donnelly is innocent as a pretty manekin�/ pg 28 - 1922-1978 SFO-Bloofield |
| Muller managed the stylistic changes and summoned the vocal endurance to sing Mimi �.Mason pointed out an inward drama, which, mixed with her lovely voice, called for the highest superlatives./ pg 48 - 1922-1978 SFO-Bloofield |
| Favero was Mimi in Boheme. Her full lyric soprano and sensitive phrasing met with favor, but when she pushed her tones into harshness, she was less than fine./ pg 74 - 1922-1978 SFO-Bloofield |
| Durringthe October 1st Boheme, one of San Francisco�s better earthquakes rocked the Opera House. Dorothy Kirsten and Pavarotti had just begun the wistful third act duet./ 1922-1978 SFO-Bloofield |
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| Angela Gheorghiu�s delicate interpretation of the consumptive heroine, Mim�. ...Her self-introduction to the upstairs poet who has attracted her (�Mi chiamano Mim�) was full of vocal warmth, yet contained a touch of the manipulative minx...But by Act 3 her emotional and physical desperation colored her every gesture and note. Her aria of farewell to her lover (�Donde lieta�) was deeply affecting, while her repeats of �Addio, senza rancor� (good-bye, and no hard feelings) moved the audience to silence. Likewise, her death scene was full of beauty and grace, as her voice slowly ebbed away. Tears fell from many an eye./ SFCV |
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| Queena Mario |
| Queena Mario |