Pavarotti's Rodolfo is perhaps the best thing he has ever done: not only the finest recorded account of the role since Björling's on the Beecham set, but adding the honeyed Italianate warmth that even Björling lacked. He can't quite match Björling's poetic refinement, and he's less willing to sing really quietly, but Pavarotti's sincerity counts for a great deal: his pride as he declares his vocation as a poet, the desperate feigning of his 'Mimì è una civetta' are points that most tenors miss or treat as mere opportunities for a big sing. His latter-day image may tend to hide it, but this recording is a reminder that Pavarotti is an artist of intelligence and delicacy as well as splendour of voice.
His Mimì, Freni, sings beautifully and sensitively.
Panerai is a strong, vividly acted Marcello.
Harwood is an interesting Musetta: her tiny narration, in Act 4, of her meeting with the stricken Mimì is a gripping moment, and her waltz-song in Act 2 is a passionate (and irresistible) avowal to Marcello. Karajan is a great Puccini conductor who can linger over the beauties of orchestration without losing his grip on the drama or relaxing his support of the singers.
There aren't many operas of which a better case can be made for having more than one account in your collection. For a modern La bohème to supplement the Beecham this Karajan set must go to the top of the list.