Questa é scuola per il tenore lirico:inspirazioni,fiati,modulazione nell'emissione...e sempre questo timbro cristallino a oltre 40 anni!Studiate e imparate "larve tenorili"di oggi!Sempre che il buon Dio vi abbia donato la voce adatta...
Scrolling down thru lots of comments until someone finally made the point that Bjoerlings version was sung LIVE at Carnegie Hall. A world of difference between a live performance and a studio recording.
not only is bjorling the greatest tenor the would has ever know, but he is probably the most perfect singer ever. an important point though is that this is a live recital far different from a recording. i still think though that the recording of Mc Cormack is the best
XP thanks for the history. I didn't realize that he had sung so many Mozart roles. I don't generally associate Bjoerling with Mozart, but now I know better.
Richard Tauber made a great recording of this aria He is remembered today largely.for operetta but as a Mozart tenor he was pretty well.unrivalled in his lifetime .His recording and that of Macormack are pretty well definitive.
C'est ça qui fait la richesse du chant..plusieurs interprètes.;chacun y trouve la voix qui lui convient le mieux....J'ai une douzaine d'enegistrements de ce morceau avec autant d'interprètes différents...j'aime aussi beaucoup Luigi Alva vocalement parlant... Nicolaï Gedda est pas mal non plus....et d'autres. C'est un morceau de sortie du conservatoire de Paris...pas mal choisi à mon avis pour juger de la souplesse d'une voix.... Cordialement Raphaël Garaud
How amazing it would have been to have recordings of Bjorling in all the Donizetti's which he sang at the Stockholm Opera in early 1930"s, also to hear him in Fidelio. I also wish he had time to record more of the dramatic and spinto areas during the final 3 years of his life since the voice had darkened so much by then. What would his "O Paradiso" have sounded like in '57-60. And how about a full recording of Don Jose. Of course this and much more was talked about by the late 50's, but alas,....never happened!
Definitely Bjoerling is of greatest tenors, when first listened to him on perfect recording of Verdi requiem conducted by Fritz Reiner ( J. Norman, ...) was impressively shocked by brilliant soloists singing, orchestra etc.,
Geraint's brother, John, lived near Washington, DC and I sang with him in the WNO chorus. He was a wonderful, kind and generous person, whose carer was comparable to that of Geraint, but in musicals.
Superb! I've never before been able to compare he my favourite tenor- with the acclaimed version sung by John McCormack.This is up there in the stratosphere along with his. Bravo! TY.
@shiicoff1 And who else would have had the technique and requisite spinto voice to sing the exceptionally difficult role of Rodolfo in Verdi's Luisa Miller. Since the Met performance of 1968 has been available at times it is possible to judge fully the glory of Tucker and Caballe in this wonderful performance and opera.
Sonnym1...totally agree there's the odd recording that is just in my mind the best. This is whats so good about individual preferances...when the voice is concerned.
@PompousOperaFanatic How well I agree with you! Peerce and Tucker were vocal wonders praised all over the world for their thrilling voices and command of technique and, of course, the same is true for Bjorling. No tenor is able to sing everything and everyone reserves the right to make informed criticism but to just heap abuse on another not the comments per-se but the party making the comment is in very bad taste.
@mizofan Stuart did indeed sing this very well, I was going to add a very under rated singer but I know he is in the top bracket as far as many music lovers are concerned.
One of my favorite stories comes from the 30's when he was singing at the Swedish Opera as a young tenor. He was to sing Boris and guess who dropped by. Yup, Chaliapin. Would that there was some kind of recording so that we could hear both of these voices in the same opera!?
@zgopify For the same reasons you mention below he tried out Aida in Chicago wasn't pleased with the results and DROPPED THE ROLE. Tucker dropped both Faust and Hoffmann early and I cannot tell why because he sounded great but a singer must be careful in the selection of his repertoire. Bjorling's best role may well have been Romeo which he didn't drop from his repertoire but just wasn't being done in the subsequent years. The Romeo, happily is available. That performance is A+++++++++++++++.
Having seen the comments, I almost thought I didn't want to listen to it. But now that I have, I believe people are being too negative about his rendition. Yes, it wasn't the most masterful start, and yes, there was occasional breathing, but I find the rest of the aria really superb. It's not the definitive version but even with the McCormack version in my memory, I still enjoy listening to this one.And concluding that Bjorlng shouldn't have done this repertoire at all may be a little too much!
Such hostility on this video. I will say this: Bjorling's performance here is not up to par with his usual excellence - to say this is the most amazing Bjorling could do would be an insult to the truly amazing performances he gave in the French (and some Verdi) repertoire. And personally I've never heard a better Don Ottavio than Leopold Simoneau - the role sounded like it was written for his voice.
Bjoerling had one of the most beautiful tenor voice ever. But his breath support in the phrase starting at 1:38 was not what Mozart wrote. Luigi Alva and the 1970's Domingo (Downes conducting) had them sing that entire phrase in one breath. Bjoerling took three breaths in that phrase from 1:38 to 1:56. Domingo took NO breaths from 1:38 to not just 1:56 but 2:02! I've never heard anyone do that. But you have to make sure it's the Domingo with Downes conducting to hear that amazing feat.
Personally know little about, and have little interest in, the academics of singing. But must be a distinction between breath control and coloratura. Once heard Met Opera Panel experts marvel at Björling's ability to sustain forever. But he did very little coloratura. I'd think this aria calls for a Rossini tenor, likes of Rockwell Blake, Juan Diego Flores. Don't give a hoot about picked nits, hearing this voice from heaven fills my heart to the brim.
@caribolas Not many people can... then again, listening to Wunderlich trying to sing Che Gelida Manina, even in his native German, he still can't touch Bjorling.
John Steane wrote in The Grand Tradition ( on Italian singers ) that a course of Bjorling would have done a power of good, And I agree with him, especially if it were applied to some of the duds strutting the stage today. Henry Webb
@Lovelytenor1 Are you listening with your heart or your ears? This performance by a true great singer is not up to his usual standards and performances by Wunderlich, Peerce, Jadlowker, McCormack, and the young Domingo among many others are more in keeping with the aria. The coloratura passage should not be broken as it is here. This may have been Bjorling's way with the aria because his performance of Lenski's aria is stunning as is the Beethoven song that he began the concert with.
Wow! he ran out of air a couple of times!! Listen to Francisco Araiza for a more powerful breath-control technique. Still, Maestro Bjoerling is a most excellent singer!!
...conquer most any music written for the lyric tenor voice ) I find this example of his Mozart style finds him somewhat lacking although this role should have been a regular feature in his repertoire early on & his Mozart style might have developed accordingly..Others such as McCormack, Simoneau, & several others are preferable even though OTTAVIO was the second role Bjorling.sang on stage. Obviously he chose to move in another direction with his repertoire which, in his early years, was in some ways a mistake. I wish that among all his great roles he could have found time for BELMONTE, OTTAVIO, FERNANDO! & TAMINO! Perhaps it would have been better for his heart condition as well. (this comment is continued from the one below).t
McCormack was perfect, the purest voice, coloratura, legato, longest phrases, but in this aria he sounded like he didn't understand the words, he shouldn't have been gentle but ready for a fight (even though don Ottavio in the opera wasn't a real fighter, he might've just wanted to impress donna Anna)
so much vitriol here. I'm almost hesitant to say anything ... but I will anyway. Bjorling was one of the greatest tenors, in my mind often, the very best of the many superlatives. He HIMSELF did not feel comfortable, certainly mid to late career anyway(he stated this) singing the entirety of a Mozart role onstage. He loved Mozart's music(was quoted saying so several times) but knew his voice wasn't particularly suited for it. And he loved this aria. Doesn't it show. That's all...
@Melomondo Bjorling was a very great tenor but as zgopify pointed out Bjorling couldn't have been pleased with the performance he refused all offers from Rudolf Bing to sing the role at the Met. Peerce won universal praise from the critics in New York for his performances and had a lock on the role at the Met even when Gedda was in the company. Do you think that Jadlowker was a great Mozart singer? I repeat please learn about Mozart singing about the importance of not chopping up the fiortura.
@shiicoff1 In some of his recordings Jadlowker actually sounds more than a little like Caruso good examples being 'ah, si ben mio,' and 'cielo e mar.' Jadlowker had a voice that was as much baritone as tenor but he was pushed into singing some roles because of the metallic ring of his upper register. Some of his leider recordings are highly valued and his Mozart, including 'il mio tesoro' is breathtaking especially the Four nel mar.
@Melomondo Your totally wrong both Peerce and Tucker had excellent Italian diction and when you seem to follow someone around its no longer thoughtful discussion its called trolling, Listen to the RCA RIgoletto where Bjorling makes a number of mistakes caused probably by his native tongue. Bjorling's English was exceptionally good especially later in his career the same, alas, does not hold for his Italian diction I have no opinion as to the French diction since I do not know the language well.
I love Bjorling in many respects more than most any post Caruso tenors but as a Mozart stylist, even though his superb technique could conquer almost and music written for the tenor voice, I do not find him at his best. McCormack, Simoneau, & several others (in this aria anyway)
as an irishman this is a wonderful comment and many thanks but with such wonderful exponents i like to think they are probably of equal stature.true artists prefer to share than be alone at the top on their own waiting for the fall !
SHICOFF1 ...hi. I read your amazing comments so often. Now I need your help, please. Want to see Jonas Kaufmann at Met in October singing Fanciulla del West. I am seeing him at Carnegie Hall in October. Should I stop there? I've never heard this opera outside of the famous aria sung by every tenor on earth on RU-vid and I love it. But 3 1/2 hrs is a long time! How I wish he was doing Tosca/Butterfly/Boheme. I think I should go and just leave if it's too much. What are your thoughts? Thank you for your time and knowledge! Barbara
@@Slowhand-ke8cs Check libretto and do thorough research beforehand, it will help you enjoy the opera so much more. If you are going just to hear the one opera it is not worth your time and money imho.
@Melomondo SIr please learn just a little bit about Mozartian singing before you display your ignorance. It matters very little to the likes of you that Jussi Bjorling and Jan Peerce were friends and he recommended Peerce to Edward Johnson because of how much he was impressed by Peerce. Bjorling was a classic act and would spin in his grave if he read the vile crap you have offered.
It seems people have forgotten how INCREDIBLY DIFFICULT singing is. Yes, a HANDFUL of singers have sung that particular cadenza more cleanly than jussi does here. So what?
@hanskunst There is nothing extraordinary about it at all! Like most students of the art of singing I always tried to get the language right and since butchering French is the international pastime for tenors I carefully studied the fantastic diction of Georges Thill, and Nicolai Gedda. But after 45 years of listening and studying the performances of the greats one does learn a little bit.
I have been a fan of Bjorling for decades.This recording slightly disapoints as he takes not one but two breaths on the famous long phrase (1.40) whereas McCormack does it in one seamless breath!
For some reason, he says, at the end of this aria, "che sol di stragge e i morti" instead of "che sol di stragge e morte" as required by the Italian text of this opera. The musical director, if there was one, or the pianist did not say anything about that to him?
I think he studied this aria only for this occation celebrating 25 years in opera. He did not sing this aria often, appearently. When Björling sang Don Ottavio on stage he only sang the other aria Dalla sua pace.
***** I think it was customary to do so back then. Mozart did not intend both arias to be sung, he wrote Dalla sua pace to replace Il mio tesoro because a tenor in Vienna was not able to sing it. The same is true, as you say about Ballo aria, and I think also "Possente Amor Mi Chiama" from Rigoletto was cut from many performances - I do not know, but I think Tucker perhaps was the first to restore it in modern time.
@Lovelytenor1 I have sang and I love Bjorling in Boheme, Tosca, Faust, Romeo, etc., but this aria simply wasn't for him. And remember that this concert was not in hicksville but rather New York and was planned for commerical release. If Bjorling felt the performance wasn't what he wanted released they would merely had have to insert the Boheme aria or Lenski's aria. Also someone does not have to be a singer to follow a score and know its demands. Your remark was off the mark totally.
Jolie voix..interprétation de qualité....mais la vocalise sur "cerca" est incomplète les deux fois...surprenant car c'est une des principales difficultés de ce morceau ..Mozart adorait mettre les chanteurs en difficulté(ici le souffle)....un aspect méconnu de sa personnalité....
Agreed, and Alva did it live onstage repeatedly over many years. He stuck to light roles and isn't as well known as some others like Bjoerling, Tucker, Peerce, who did Verdi and Puccini in that era. He is alive at 92.
Great recording by my favourite tenor but John McCormack is the only one who sings 64 notes in one breath. Unequalled, to my knowledge, by any other tenor before or since!
@Melomondo I saw your remarks re: Israeli national anthem why do I think that your persistent insults and attacks of both Peerce and Tucker has more to do with their being the best known operatic artists of the Jewish faith and outspoken supporters of Israel. You seem to be working out your problems using two great tenors who were credits to all that is good in music and human relations. Its sad to see such vile hatred being used to vent against innocent people. You needn't share your hate.
This is awesome... But half as good as how Araiza sings this piece... The reason is he cuts long phrases by breathing... where as Araiza somehow does sing without breathing in a non-human way...
First off...I LOVE Jussi's voice. Love love love. But what's with all the breathing between 1:40 and 1:56? Must not have felt totally comfortable with this aria (or was just having a rare off night).
He can sing a toothpaste advert for all I care! I admit I am biased! Love, love love Jussi Bjorling's divine voice! Wish he was still alive! Most of our present tenors have pleasant voices, but fall far short of Bjorling, Caruso, Gigli and di Stefano!
@Lovelytenor1 Yes I do know that and I know that he sang the role without Il mio tesoro since it was cut. He frequently program Dalla sua pace which suited him far better. Seriously what makes it a marvel besides the beauty of the voice which only an idiot would deny. The aria is poorly done by an immortal. How did Tucker enter the discussion? I will comment that Tucker could sing coloratura better than Bjorling and he could trill which I've never heard Bjorling do.
Actually, Bjoerling does trill -- and a fine one it is. There are fewer such examples from him than from Tucker. When Bjoerling makes his Covent Garden debut in 1939, his Manrico (Trovatore) sports two handsome trills in "Ah si, ben mio". But in later Trovatores, he sometimes doesn't do them. Odd. Then, in his last Trovatore (Stockholm, 1959), they're back! Tucker always trills there. But it's curious that while Bjoerling's are just as dazzling, he uses them relatively rarely. Not clear why, and I know no one who's been able to explain it.
Compare Tucker to björling in quality of voice and eveness of tone throughtout the register. You gotta be kidding me! Listen to Björling sings "O lola" from Cavalleria Rusticana. That arie troubles all tenor i have heard. If you talk about coloratura
@SHICOFF1 Of course I'm not a stalker nor am I crazy. Some people cannot deal with the truth being pointed out. Tell me SHICOFF1 why it is so hard for some to deal with the fact that others like different performers than them and actually ask a civil question before the ad hoc insults and hatred is brought out. GermanOperaSinger had this guy pegged all too well didn't he!
Not a fan... this is kinda bad. There are so many little mistakes in here and breath / resonance issues, which, in my opinion should not be present in the performance of a "legend". Sorry.
Wow. I never thought I'd ever hear anything come out of Bjoerling that I didn't absolutely love. But this.... ugh. Perhaps he ought not to have been singing Mozart. (Particularly in recital format.) Sorry if I've offended my fellow Bjoerling fans by saying so.
