…dieses Wunder an Stimme…! Von Gott beschenkt und durch Engel gelehrt. Ein schier endloser Strom des Wohlklangs, technisch und im Ausdruck perfekt. Ein Jahrhundertsänger. Mi piace moltissimo
I live in the town Jussi was born in (well I was also born there). We have an entire square named after him "Jussi Björlings Torget", note that Borlänge is a very small town (60k ppl) so the square aint that big :3 but in the middle of it - we have a statue of him singing!
Åh, älskade Jussi! ❤(our J is pronounced soft, like the Y in English "you") Many Swedes, my family members and I among them, listen to this performance every Christmas Eve morning (our main Christmas celebration takes place on the 24th). It always brings tears to my eyes. The sweetness and tenderness of his voice that he blends with the powerful belts - truly heartwarming! The lyrics themselves are a little different from those of the English version (and the French original), but I suppose they convey the same general sentiments. I'm glad you enjoyed it. I hope your holiday weekend was pleasant, if you celebrated it, and I wish you a Happy New Year - may 2023 be a better year than 2022 ! 🎆🌠
Jussi Bjoerling pronounced " yuo- see byoerling". From his 1sr record to his last his voice remained nearly the same. Since he died before the decline, we will remember him in perfection.
You're Right about his voice, Groovy. Good reaction by the way. This is the finest, O Helga natt/O Holy night, by the Magic voice of Jussi Bjorling, IMO.👍🐐🇮🇪🇸🇪...
Glorious. Jussi had this incredible persistent resonance, like a golden ringing that never stops. Yes, your right, ranking opera singers in terms of the best does not work as individual preferences can vary so wildly in opera. Perhaps a fairer measure is influence and there's no doubt Jussi was massively influential to just about every prominent tenor.
Björling is the greatest tenor of all time. This, not his best work ever, but one of the most well known, shows why. His blending of perfect technique and emotion (what more modern genres would later call soul) puts him ahead of the rest of the operatic masters (the ones that we have on record at least).
I think I may have said this elsewhere,but I think that any singer who desires to record or sing this carol should listen to J.B .and just forget about it.His version cannot be surpassed.
Amen richard.o holy night has always been my #1 carol.but having heard Jussi,this now ranks as my favorite song of all time! A voice placed in a man by God,Himself.and JB gave,gives,and will always give joy in the hearts of men.an"Eternal"song.
Björling is unparalleled. A warm, golden ringing tone, top to bottom, impeccable technique. There are no comparisons to this master. Opera experts and critics the world over have declared Jussi as the finest tenor this world has ever heard. I am happy to provide the data about these polls. The public agrees as well, he was voted the finest tenor of the 20th Century by listeners worldwide. I have the data for this as well. Yes, you CAN compare tenors. It is ok for someone to be the best.
Eileen you're right. But I also adore Caruso and my darling Gigli. On another channel it's been alleged that Bjorling is no longer well known in Europe. I was shocked to learn this. Greetings from South Africa.
@marthienel2190 Thank you. I find Jussi's life story to be sad, honestly. I think that if he had been Italian he would still be remembered. You can hear the sorrow in his voice. The loss of his mother when he was just a young boy, and then being pushed by his father to perform not long afterwards. I think he had no time or space to grieve, and he worked all his life to please others with his unique gift. He wanted to retire and be a fisherman. He had worked 4 decades when he died at 49.
(His name is Jussi Björling, not Bjørling) You are basically right, but faster "s". And there is a "j" before the "ö" in Björling. And his articulation of the lyrics is really good. You can hear every word pronounced. No laziness of jumping over syllables. Yes, I am Swedish. You should probably also listen to "Till havs", which also is a great performance in Swedish by Jussi Björling. Pavarotti had Jussi Björling as the goal what a Tenor should be. So he listen to Björling when performing. A journalist asked Pavarotti if he compared himself to Jussi, and Pavarotti said something in the line of "No, I am only a mortal".
If You ask Pavarotti he ranked Jussi higher then himself. In a Interview ..The said they ranked him as high or higher then Jussi Björling...His replay was...-Please I am only human. And that he always listen to Jussis version before he did his.
Pavarotti was very diplomatic and made many fine remarks about other great tenors, like Corelli, Bjorling, Tucker, Aragall, Schipa and Gigli. However, in an interview here on You Tube, Pavarotti states that Caruso is number one, but Di Stefano is his favorite tenor. There was not ONE word written about 😢😢Bjorling in Pav’s book.
I met and knew Pavarotti . when I worked in classical radio in Los Angeles in the 1960's and 1970's and he told me once in Chicago when I asked him, that his favorite "Voice" was Di Stefano, ( not Jussi) but that for technique he thought Jussi was perfection and perfect, You are correct, he did not mention Jussi in his Biography @@sugarbist
@@shicoff1398 Yes, Pavarotti here on YT claims that Caruso is number one, but Di Stefano is his favorite tenor, but not ONE word about Bjorling in Pav's book
Pavarotti. liked of course the perfection Of JB and the great Technique, but his "FAVORITE VOICE WAS DI STEFANO" and in his book of course, nothing at all about Jussi, nothing, he was diplomatic and in Sweden said "I'm only human" ( in comparison with Jussi) and yes was talking about technique and BTW he may not be my favorite lyric tenor but Pav. also did have great technique , though JB sang a wider variety of different types of music in several languages, but Pav's "favorite voice" was Di Stefano ( not Jussi's) and when i worked for a classical radio station in Calif. and also for Lyric Opera in Chicago, I met Pavarotti and discussed tenors with him, so you are RIGHT, some JB fans are making up statement's Pav. never ever made .
You say you like Pavarotti a lot. Pavarotti’s favourite was Björling and his goal was always to be able to sing like the Swede. >> When I’m about to learn a new opera, I first listen to how Jussi Björling did it. His voice was so unique and it’s his path that I want to follow. I would more than anything else in the world for people to compare me to Jussi Björling. - Luciano Pavarotti
@@Jonsson474 Dear Jonsson, Di Stefano was Pavarotti's favorite tenor, but he was NOT foolish enough to follow Di Stefano's technique of opening the passaggio. There are several interviews here on You Tube of Pavarotti discussing his influences, but Bjorling is never mentioned on these interviews or in Pav's book.. Caruso, Di Stefano, and Pertile on one, up loaded by Mark Segu, and the other ''Pavarotti speaks about Giuseppe Di Stefano'' also up loaded by the interviewer Mark Segu. On another interview, Pavarotti claims that Caruso was number 1, but Di Stefano was his favorite tenor. It's not a question of who could sing Puccini better, but who was Pavarotti's favorite? Pavarotti's father's favorite tenor was Gigli, Tucker's favorite was Del Monaco. Caruso loved John McCormack Corelli loved Gigli. Even though Toscanini was enraptured by Bjorling's voice, his favorite tenors were Peerce and Pertile. Toscanini also said that Lanza had the voice of the century. Enjoy
Correct it was Not Bjoerling as far as Pav's favorite voice and for passion, it was GDS that, but he liked Jussi for his great technique and perfection in his singing and (as did Shicoff,) so Pavarotti used JB as a model of perfection, but for the raw beauty of his lyric voice and great Italian operatic Passion Pav. has said in his own Autobiography, (that as you said in the book no mention by Pav. of Jussi is there ) but both Gigli and Giuseppe Di Stefano is , and so I asked Pavarotti meeting him at a private party in Chicago through a mutual friend, when I was connected with Lyric opera there, about his favorite tenor Voice, he told me it was GDS and his dad's Favorite was Gigli, he said both men where quite warm and passionate, but he did say Jussi was the great artist musically, and that was echoed to me by Shicoff who said JB was a favorite tenor of his, and that he had 3 favorites Jussi, Corelli and Tucker but before he sang he's listen to Jussi's recordings (but JB of course was dead at the time) Shicoff never saw JB singing, being Neil was both in 1949 but he did study for awhile with Corelli, but got into some vocal trouble then, picking up some Corelli habits (with Neil's then having ringing high notes) but he then got different coaches and made a big come back in the states, his career lasted well in Europe for years and then back in the USA where I last saw him in house, last back in 2006 singing again in Chicago, first saw him in 1979 in in Chicago and in the 1980's in Calif. and 1990's again with Chicago opera, and at the Met. in both 1984 and 2000, he was always open to talk with and I'd ask questions about opera and singers, as I did with Richard Tucker. Yes, I saw Jussi in 1958, the year I saw Jan Peerce but back then as a 18 year old, but I didn't go back stage then, not until 1961 when I saw both Tucker and Bergonzi singing on alternate nights with Sutherland, she was singing Lucia in her Chicago debut, I still have all their signed programs from 1961!!!
Jonathan is the best tenor in world today. His voice is amazing, I have never heard no one like it, although I’m swedish and a huge fan of Jussi Björling. Jonathan gets right into your heart and stays there for ever. He is also the most loving and humbled man you can think of. ❤️❤️❤️❤️
Jussi sings the song in swedish beautifully. Please listen to the the young brittisk tenor, #JonathanAntoine, he will blow you away with his amazing voice singing this song
Oh yes, he is, he has the power and tenoric ability and is a classic trained tenor. He is often compared with Pavarotti and is classified as top three tenors today. Listen to him singing arias like ”Che Gelida Manina” and ”Core ’ngrato” for example.
@@Chris-wm4thSure he is. Like Pavarotti's Vocal coach said: "I don't need to do anything. You're perfect. " Or like Rolando Villazón said :" I wouldn't change anything!"
I heard Jussi 5 times, in person, back in the 50's, including two performances, @ the old Met, where his voice was just lost. It is a truly glorious instrument, when not pushed too hard, but one which had very little reserve power, & whose lustre was, to my way, of thinking, pretty much lost in the concert hall. I believe he sounds better, via the mic. I also got bored with the twofold sameness of sound, throughout, either tonally in the head, or in the diaphram, & then purposely skipped his last Carnegie Hall recital, which had critics comparing him to Caruso, which I find rediculous,. Enjoy his brilliant recordings, but don't despair, if you never heard him in person, where many fans, who had never before heard him, in the opera house, always seemed a tad disappointed, to me. They were, typically, expecting a bigger sound. In contradistinction, DiStephano's voice could be heard from every seat - even his pianissimi. Jussi used to say that Pippo could be the best, with more discipline, whereas in his prime, I think Pippo was the best, even if it didn't last long.
Yes I saw both JB in 1958 in the opera house at age 18, but only once in Chicago, as the Duke, and saw GDS in 1959 in Tosca with Tebaldi, also in the opera but in Tosca and His voice was easily larger then JB's , Jussi was a fine artist and a great lyric tenor, but of course roles like Chenier , Forza, Turandot, Gioconda, Carmen, Boccenegra, Samson, Luisa Miller where not for him, there you need a spinto like Corelli, Tucker, Giacomini or the Dramatic Del Monaco, all much bigger voices more adept at bigger roles, but in his Fach , Jussi was one of the all time great tenors, anyhow it's all just opinion, but as far as reputation by history, Caruso was the tenor King. I did see those I mentioned except Caruso of course or Gigli, I'm 83 and we all have our favored singers, but you needed to see them as I did in house and you did. Saw Lyric Tagliavini, Bergonzi, Kraus, Labo, Heppner, Bergonzi and all the rest, the three tenors etc. and many many more, I don't need a poll as I know how they really sounded in the opera house. Jan Peerce told me that nobody could diminuendo on a high C or any note like GDS could, Corelli could, but not on the high C. GDS did it in Faust in the Salute aria in the 1940's and 1950.
Not only did Caruso sing effectively through a wider variety of roles from lyric to spinto dramatic than Bjorling did, but Caruso received rave reviews during his 19 seasons at the Met in roughly 900 performances. Bjorling sang 119 performances at the Met during a 20 year period to fine reviews in lyric roles, like Boheme, Rigoletto, and Ballo, but poor reviews in Trovatore, earlyTosca, and Manon Lescaut. Bjorling also avoided Carmen, Chenier, Samson, Gioconda, Fanciulla, and Ernani. He also did poorly in Aida in the big house in Chicago “Capacity 3563” but did quite well as Radames in Stockholm, Capacity 1180. Bjorling was a fine great lyric tenor that warmed the hearts of his many fans, but he could not compete with Caruso across the extreme variety of roles that Caruso triumphed in. The Bjorling fan seems to have an unwarranted obsession of stating that Bjorling was the greatest tenor of all time instead of just understanding that he was an impeccable singer with a beautiful lyric voice, but with limitations in spinto dramatic roles, because his voice was notably not big enough and JB was not a good actor on stage
Yes, and that is all correct and factual, he also did not in this country sing in the opera house Pagliacci but sang it in Europe in Swedish , I saw him in house in 1958, (Chicago) , his voice was larger on records then in house, the opposite of Del Monaco and Tucker, "Both HAD LARGER VOICES IN HOUSE AND DID NOT RECORD AS WELL AS JUSSI DID", that said JB was a great Lyric tenor who sang with technical perfection in many roles. Some opera fans need to get the needle out of their arm, but poster Groovy was smart here to stay neutral as the poster , and not to compare. @@sugarbist
