Opera’s “it” couple has made a new recording — and it is a recording of a complete opera: “La Bohème.” Do we need another recording of this Puccini hit? “Need” is not quite the question. A good new recording is always welcome.

You know who the “it” couple is: Anna Netrebko and Rolando Villazón. She’s a Russian soprano, and he’s a Mexican tenor. They’re not a real-life couple — they have other partners. But they are paired onstage, and in recordings.

The record label, Deutsche Grammophon, has an interesting promotional line: “Opera’s premier couple in their first recording of Puccini’s immortal romance.” So there will be another Netrebko-Villazón “Bohème”? And another and another?

The new recording is live, made in Munich last year. It seems that the day of the studio recording is over; all of our opera recordings are live now — and that’s not a bad thing, at all. Apparently, Deutsche Grammophon recorded several performances of “Bohème,” producing a kind of composite. We hear no applause. And the recording does not feel especially live.

That’s not a criticism, just an observation.

The orchestra is the Bavarian Radio Symphony Orchestra, conducted by a Frenchman, Bertrand de Billy. Maestro de Billy — distinctive name, huh? — is not well-known in America, but is a biggish deal in Europe. For example, he appears at the Salzburg Festival regularly.

When Mimì enters, she is sharp of pitch and dark of timbre. This is Anna Netrebko. But she does little sharping in this “Bohème” — she even commits some flatting, just for variety. And she can put several colors in her voice. Sometimes she is too heavy, as in her opening aria. And sometimes she overmilks (in a word). We could lodge other complaints as well.

But Ms. Netrebko has a priceless gift: musical charisma. And that can overcome any number of problems. When the story gets dramatic, Ms. Netrebko gets very good — she is an affecting Mimì.

And Mr. Villazón’s Rodolfo? Like the soprano, the tenor is sometimes too heavy, and when his voice is overburdened, it loses beauty (and other desirable qualities). Also, he does a fair amount of sliding around, in that accustomed Latin way. His mentor, Plácido Domingo, slides too.

And, like Ms. Netrebko, Mr. Villazón sometimes overmilks. Now and then, he phrases too fancily; a more straightforward approach would be preferable.

But — again like his soprano partner — Mr. Villazón has gift after gift. When that voice lightens up, brightens up, it is wonderful. There is pure sunshine in it. When the voice has ping, it lifts your heart; when it carries that extra weight — no.

We should hope that Mr. Villazón resists any temptation to strain. He does not need to be Otello — certainly not anytime soon.

Whatever problems he may have, Mr. Villazón sings with Rodolfo’s ardor. He also has likability, which is a priceless trait — a warm likability. Recently, I said of Joyce DiDonato (the American mezzo) that she has a “secret ingredient”: adorability. Well, Mr. Villazón’s is likability.

Everyone says that Ms. Netrebko and Mr. Villazón have “chemistry.” Do they? I suppose. Do they have more chemistry than other Mimì-Rodolfo pairings? I would say that they are each personable — very personable — and that this gives the impression of “chemistry” when they are onstage together.

The cast around them is capable and cohesive. What I mean is, they all gel. Nicole Cabell — a much-publicized American soprano — is Musetta, and she performs competently. She is more coquettish than minxish, which is fine. And she does not inject the role with too much ham — which is welcome.

As for the supporting men, I will single out Vitalij Kowaljow, the Ukrainian bass who is Colline. He sings his brief aria, “Vecchia zimarra,” with due gravity and pathos.

And Maestro de Billy does a commendable job. If Mr. Villazón sings with ardor, Mr. de Billy conducts with same. He is very brisk in Act 1, and, in fact, too brisk — rushed, unsavoring. You don’t need speed to convey youthful exuberance. Ask Thomas Beecham.

On the other hand, some tempos are too slow — as in Mimì’s Act 3 aria, “D’onde lieta uscì.” (Was that the conductor’s fault or the diva’s?) Immoderation is a slight problem, but only slight. Mr. de Billy has the sweep of the work, and Act 2 is a special treat: ebullient and grin-making, just as Puccini wrote it.

And the Bavarian Radio Symphony Orchestra sounds quite good.

On these new discs, “La Bohème” comes to us fresh and inspired. This is not a hackneyed work, but a superb one. The new recording may not be your all-time favorite. You will not want to throw away Albanese and Peerce, or de los Angeles and Bjoerling. But you may well want to make room for today’s “it” couple.