Dear Celine, Pavarotti was very diplomatic and spoke well of many tenors like Aragall, Gigli, Corelli Del Monaco, and Tucker. However, Pavarotti's favorite tenor was ''Giuseppe Di Stefano'' who is mentioned in so many interviews here on You Tube. There is not one word written about Bjorling in Pavarotti's book, but GDS is surely mentioned. I
@celinejohnston3694 For Pavarotti was Björling the great role model! "every time i rehearse a new opera i first listen to howe Björling sang" said Pavarotti. Björling was a world leading tenor during the heyday of tenors, "the golden era of tenors" from the 1930s to the late 1960s. Like the famous conductor Nicola Rescigno put it "Björling was a king among tenors during this era".
@@suffes1 yep! 100 % in agreement. His Voice is so beautiful with Power. O Helga Natt , was sung so Brilliant! And Che Gelida Manina, out of this world.!! 👍🇮🇪🎄🌲☃️❤️...
Dear CELINE, It's of course your prerogative to love Bjorling over Pavarotti, It is accurate that Pavarotti said,'' every time I rehearse a new opera, I first listen to how Bjorling sang''' Pavarotti also said, '' Don't compare me with Jussi, I'm only human''. However, if you search You Tube for Pav's interviews about tenors, you will see that Pavarotti never mentions Bjorling, but often states that Di Stefano was his Idol and favorite tenor. I hope you are enjoying the peppering of statements between myself and Suffes1. Enjoy
Dear Celine, sensible that you take no notice of Sugarbist. He has made it his great life's task to seduce Björling fans and try to diminish Björling. He has been doing this for as long as we can remember. Guess you've seen him yourself before. We have to assume that he can't stand that Björling was so popular. Now we continue to listen and enjoy different tenors. He can sit there and get angry at his Björling fans all he wants...
Suffes 1 cannot seem to acknowledge any poor critical reviews from the Met Archives in roles like Cavaradossi, and Manrico where the critic stated that Bjorling was NOT heroic enough, or the fact that Bjorling fell short in Aida in Chicago, ''capacity 3563'' in 1959 which is documented by Brigit Nilsson in the Andrew Farkas book, ''JUSSI'' co written by Anna Lisa Bjorling. The well respected critic Claudia Cassidy who was a big fan of Jussi's stated her disappointment of Bjorling's Radames in Chicago. The fact that bass Jerome Hines who sang with Bjorling stated '' Bjorling sounded like 3 Caruso's on records but in the theater, it was virtually a small voice.'' However, Bjorling did receive many fine reviews in Boheme, Ballo, Don Carlo, Faust and Rigoletto, where the lyric repertoire was more suited for his beautiful voice. JB was also very accomplished in his complete repertoire at the Stockholm opera house, '' capacity 1180''. Bjorling was one of the Metropolitan Opera House's principal artists during the 1940s and 50s.
It's true that Pavarotti made fine remarks about Jussi Bjorling, but there's not ''ONE '' word written about Bjorling in Pavarotti's book. In an interview here on You Tube, Pavarotti states that Caruso is number ''ONE'' but Pav's favorite tenor and idol, as mentioned in his book and interviews, was Giuseppe Di Stefano. When Pavarotti told his father that he preferred Di Stefano over Gigli, it was the only time his father slap him in the face. Yes, Bjorling was ''A'' king among ''lyric tenors'' during the 1930s, 40s and 50s, but not in the late 1960s, as Suffes1 mentions below, as Bjorling passed away on September 9th,1960. Bjorling was an impeccable singer with a beautiful quality of voice, that was well focused, and sang very effectively in many languages, but ''NEVER'' a powerful voice as poster Celinejohnston suggests. It's wonderful to be enthused about our favorite tenors, but let's try to keep it real and accurate.
As usual, Sugarbist tries to reduce and talk down Björling. As usual, he fail!. Then he tries to drag Suffes1 into his pie-throwing. I haven't brought up anything here about the reviews he rambles on about. BUT if Jussi had a handful of worse reviews during his lifetime, he probably had 1000 good ones! Björling had more than 3000 performances during his short life. If you want to find negative reviews, you have to look for a long time! Also note that the reviews that Sugarbist managed to scrape together aren't even about Björling singing badly, but only that his voice didn't fit the roles! If you want to make a fool of yourself, a good way is to try to throw crap at Björling with bad reviews...
There are always over-enthusiastic people who, in their eagerness to promote themselves, have a little difficulty understanding what others write. Like Sugarbist when he says "but not in the late 1960s, as Suffes1 mentions below, as Bjorling passed away on September 9th,1960". But with "late 1960s" Suffes1 is of course reffering to "the golden era of tenors" 1930 to late 1960, not that Björling still lived until the end of 1960...
You have to listen to his most superlative works Nessun Dorma by turandot By Giacomo Puccini, Caruso ft Lucio Dalla, Miserere ft Zucchero, The duet with James brown opens your mind to a celestial music 👍😍😍😍
You are soo right, it’s not a “who’s best?” Competition, Bjorlings voice is darker and more dramatic in tone, Pavarotti is a lyric tenor so has that lighter brightness and ‘zing’ to his tone. Of the two, my personal preference for this aria is Pavarotti’s due to the thrilling diamond-like brilliance of his tone and his clear diction. 👍🏻
Luciano Pavarotti É considered the greatest exponent of Opera music in the world I suggest you listen to it in some operas the most superlative is Nessun dorma by la turandot Of Giacomo Puccini. He dictated with Elton John i qeen bono u2steve wonder Eric Clapton Sting Bryan Adam And many other great
