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One of the things that has long struck me about the love duet at the conclusion of Act I of Puccini's La boh?me (beginning at rehearsal number [RH] 41, with Rodolfo's O soave fanciulla)1 is that the proportional relationships of the individual parts of the duetto the duet as a whole, as well as those within the individual parts themselves, seem right, that Puccini had an unerring sense of musical-dramatic pacing, and that he knew just when enough was enough and just when, therefore, to change gears. What follows tries to offer one explanation?and there are undoubtedly others (as many as there are listeners?)?for this intuitive feeling.
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