One of the most remarkable and astounding voices of last century; and for all time. Bjorling had a Stradivarius in his throat. His biography, by his wife Anna, is a great read.
I think that the expression "Bjorling had a Stradivarius in his throat."has to be the most beautiful way I have ever heard of describing his voice.Thank You.
L'amour! Oui, son ardeur a troublé tout mon être! Mais quelle soudaine clarté Resplendit à cette fenêtre! C'est là que dans la nuit rayonne sa beauté! Ah! lève-toi, soleil! Fais pâlir les étoiles, Qui, dans l'azur sans voiles, Brillent aux firmament. Ah! lève-toi! parais! parais! Astre pur et charmant! Elle rêve! elle dénoue Une boucle de cheveux Qui vient caresse sa joue! Amour! Amour! Porte-lui mes vues! Elle parle! Qu'elle est belle! Ah! je n'ai rien entendu! Mais ses yeux parlent pour elle, Et mon coeur a répondu!
La voix est belle au MET mais en EUROPE au retour il n'y a pas eu le succès du MET à la scala etc. .. La voix est belle mais malgré quelques passages en mezza- vocce..Le timbre reste uniforme et cela me gêne chez lui.. Le plus grand ROMEÔ ?? bien sûr que non , il y a eu de beaux ROMEÔ français et surtout , si l'on veut avoir 2 fois plus d'ampleur vocale avec une voix merveilleuse où dans le timbre passent toutes les émotions , sans jamais forcer sa voix...surtout sur les HIGH notes contrôlées et compréhensibles mais en la colorant sans artifice...écoutez les 2 enregistrements de THILL dont ROMEÔ fût un des grands rôles à la scène et franchement comment espérer mieux chanter ..comme SAMSON..LOHENGRIN..WERTHER..ENÉE. ..et tant d'autres rôles où il y a du style..du goût , une absence totale de recherche vocale pour montrer sa puissance .. ( écoutez ARNOLD...OU BERLIOZ avec ces ressources contrôlées tout en colorant la voix et ici aussi un contreREB. ..ou HIGHC#..qui passe sans effort dans une ligne de chant toujours impeccable.. ALORS SI VOUS ME DEMONTREZ QUE CHEZ JB on retrouve tout cela ( toujours des finales " pleine poitrine " :pourquoi ?)
Perchè dire simili bestialità? La voce al metropolitan era bella e diventava brutta alla scala!!! George Thill pur essendo un bravo cantante non è assolutamente all'altezza di Bjorling in nessun ruolo.
Probably the greatest most thrilling voice of modern times..... Jussi's entire performance here is one of the few shining emeralds of the 20th century.
Love that recording....have it, listen to it often, and like that opera more than any other of Gounod's. Sayou and Bjorling ARE them...o so sad... at least they get each other forever......but much later... and forever. And for everything he sang he was the best. Ever. Period. (and I'm not the biggest fan of his repetoire)
funny, yesterday I was talking to myself (very usual in me) and decided that Romeo IS Björling, so I agree with you, in his biography is mentioned that a recording of the opera was scheduled for the end of the 40's beginning of the 50's but was postponed, the same goes for Faust. Later his voice became bigger and darker, so he decided to record Aida, Rigoletto, Trovatore and Turandot, instead of more lyric tenor roles.
there is a certain place you can put those Parais Bflats. To much toward ah and it sounds contrived to far toward 'ee' and it can split on you. he centers them every time, even plays around with them. No one can sing them like this anymore...they jump right out and give a dramatic effect with a beautiful lyrical sound. Nobody taught him this. God gave it to him
What??? He has the finest even vibrato of any recorded tenor. Stunning technique, the most wondrous tone and phrasing. A voice from heaven. If you do not yet understand his mastery, listen to his Nessun Dorma, E Lucevan de Stelle, Ingemisco, Adelaide. His Romeo is excellent but these other songs listed suit the beauty of his voice much better.
So, answering all my critics above: And I still don't like it. To me it's excessive, though when I'm listening to it once again it's offending me less... Well, one can grow accustomed to everything... Rather sad conclusion, I'm afraid...
