Jussi Bjorling : Six arias recorded 19th Sept 1957 in excellent newly re-mastered stereo sound
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- เผยแพร่เมื่อ 28 ก.ย. 2024
- Jussi Bjorling recorded Cavalleria Rusticana with Renata Tebaldi in September 1957 and I have been informed (by "Shicoff1") that these six recordings with Orchester des Maggio Musicale Fiorentino conducted by Alberto Erede were made to fill up the LP on which the last part of the opera was recorded. The recordings are as follows:-
0:06 Cielo e mar - La Giocanda (Ponchielli)
4:57 E' la solita storia (Lamento di Federico) - L'Arlesiana (Cilea)
9:41 Amor ti vieta - Fedora (Giordano)
11:31 Di tu se fedele - Ballo in maschera (Verdi)
14:49 Tra voi belle - Manon Lescaut (Puccini)
16:27 Ch'ella mi creda - La fanciulla del West (Puccini)
The order in which the arias were actually recorded on the day was 1,6,3,2,4,5.
For those not familiar with Jussi Bjorling, he was born in 1911 in Sweden and throughout his career he was regarded as one of the world's greatest tenors and even today many still rate him as the best ever. He made many wonderful recordings, mostly operatic but many others of different genres. Unfortunately in 1960 he suffered a heart attack and died at the age of just 49.
I've restored/remastered quite a few of Jussi's wonderful recordings either separately or as part of compilation videos and if you want to listen to them all the link to the playlist is
• Jussi Bjorling : Four ...
![Cavalleria Rusticana - Simionato & Bjorling (MET, 16-10-1959) [Rare]](http://i.ytimg.com/vi/eMSiR7-q25M/mqdefault.jpg)
![Pink Floyd - The Dark Side Of The Moon (50th Anniversary) [2023 Remaster] {Full Album}](/img/n.gif)
0:06 Cielo e mar - La Giocanda (Ponchielli) 4:57 E' la solita storia (Lamento di Federico) - L'Arlesiana (Cilea)
9:41 Amor ti vieta - Fedora (Giordano) 11:31 Di tu se fedele - Ballo in maschera (Verdi)
14:49 Tra voi belle - Manon Lescaut (Puccini) 16:27 Ch'ella mi creda - La fanciulla del West (Puccini)
His Amor ti Vieta for 90 seconds with 9 minute pauses, has got to be Unequalled by any tenor. Even Jussi himself could not repeat it after 1954.He was the greatest and has given me endless listening pleasure for at least 70 years.
@@ivanschwartz7649 Thanks for listening and for your comment Ivan.
Your efforts to bring us such beautifully remastered older recordings are much appreciated. I have a little request - recordings of Callas and Corelli in Norma from 1953 are available but in poor quality. It would be a real treat if you could do your magic on those.
@@annettemeyer1393 Thanks for listening and for your kind words Annette but, to be honest these recordings of Jussi were very good and I didn't have to do much to improve them whereas the 1953 Norma that you mention is extremely poor.
However, I will give part of it a try and let you know if I can improve it sufficiently to merit uploading. I can improve the range and reduce noise but, unfortunately, it's not possible to remove distortion but I'll do my best and let you know.
@@ivanschwartz7649 this was his later Rec. of the "Amor Ti Vieta" aria recorded in 1957, I especially like his earlier version, that was years before this one.
The voice , the best tenor ever, without a doubt! Left us far to soon😪. Thank you for sharing!
It's my pleasure Roar, than you for listening, I'm glad that you enjoyed the video.
Jussi är den mest fulländade sångaren som funnits!
Han sjöng i 45 år av sina 49 levnadsår.
Jussis pappa hade fått utbildning av självaste Caruso så vi har han att tacka för en fin grund i sångteknik som Jussi fick av sin far.
Tack för dessa fantastiska inspelningar!!
It's my pleasure Johan, thank you for listening, I'm really pleased that you enjoyed the video.
I had a radio program while at University, called “Her Mistress’s Voice” and Jussi’s “Amor ti Vieta” was my entrance and exit music!
Happy memories Vicky.
All very true comments.Adore Jussi.To say "Jussi" is enough ,no need to say more!On the reverse side of an extended 45rpm disc many years ago was the comment from a Met. assistant manager on Jussi's voice:"the broad warmth of the middle,the solidity of the bottom,and the free almost brazen brilliance of the top" To me this listening experience sums up much of what Jussi's voice was and is. We all know it's very hard to fully explain the sound of his voice,it means so many things to so many people.We are all extremely thankful Jussi passed our way!
His voice is unsurpassed the best ever.
The most sublime voice ever, I agree! ❤❤❤
No tenor ever had a more youthful, vibrant glow nor more sheer musicality. In addition, though Swedish, he enunciated Italian words better than many Italians! Dear, beloved Jussi, gone far too soon; but we were so blessed to have you.
Thanks for listening and for your comment Roger.
@@michaelmcgrailengland Thank you for posting!
You have no concept of “youthful” at all. You know little about tenor and know nothing about Italian at all. Stop pretending you know anything. Shame
Его смело можно назвать по схожести м его великим кумиром северным Карузо,даже Джильи ,претендовавший на трон ,остаётся сомнительным.Не зря толстяк из трио хористов,заметил,что в сравнении с ним ,он мальчик.И даже ребенок.Всем спасибо за этот материал,будем же благодарны пролому оставившему нам такой вокальный клад,жаль его золото подменили мишурой негодяи .
Maltese tenor Joseph Calleja reminds me of Bjorling. So beautiful!
That was wonderful. It’s silly but l’m in tears because it’s so beautiful. Thank you again
It's my pleasure Marian, thanks for listening, I'm glad that you enjoyed the video through the tears. They are wonderful recordings and I read somewhere that Jussi and Nils Grevillius the conductor on many of his recordings had plans to re-record some of the old mono records in stereo. Listening to the recordings here is a good indication of what was lost when cruel fate took a hand.
There is Jussi and then………..everyone else. I never heard him sound better than here. Thanks for posting.
It's my pleasure, thank you for listening, very glad that you enjoyed it.
Undoubtedly the prince of tenors. His control and discipline of expression is unmatched.
Thanks for listening and for your comment Ron.
Without knowing any of music's technical features, I listen to him and the other great singers, and I always enjoy how his voice hits all the right notes. He goes seamlessly from one passage to another whether in higher or lower registers. His high notes often gain in power as they progress, and that is something I rarely hear in other singers-- certainly not the newer ones. His singing is sensational, regardless of whatever technical faults some commentors can find.
Thanks for listening and for your comment John.
WHAT A TREASURE , GOLDEN Jussi
Thanks for listening, I'm glad that you enjoyed it enough the first time to want to come back for more.
Have no words for this just amazing!!!!!!
Thanks for listening and for your comment Roger, I'm very pleased that you enjoyed the video.
You can argue over size whatever you want, but Jussi is the one among tenors that caresses and strectches the heart with his voice in every heard recording.
Thanks for listening and I certainly agree with your comment.
Hy bly vir 40 jaar een van my top gunsteling tenore
Jussi is absolutely number 1! thanks for posting these, absolutely fantastic!🥰🥰
It's my pleasure Olof, thank you for listening, glad that you enjoyed it.
I would die to have these six remastered Arias in my music system where I can listen on better audio equipment than my iPad!
Thanks for listening Sylvia, I'm glad that you like these wonderful recordings and, as you suggest, they sound so much better through good audio equipment. If your iPad has Bluetooth a headphone socket the easiest way would be to buy, or borrow, some good quality over-ear headphones or can you connect your iPad to a hi fi system with a good bass output.
The only other way that I can think of is to buy some software (or perhaps a friend has such software) that will allow you to download the video to a computer and then burn the music on to a CD to play on a hi fi system..
I hope that you can find a way as you will appreciate the arias even more than you have already..
BAJATE TH-cam Y TE LAS PODES DESCARGAR
Thanks for the good ideas. It reminds me that I can reinstall some software I haven’t used for a long time, Total Recorder. If memory serves, it would almost certainly get me copies of those arias that I’d so love to have. Thanks again.
@@sylviarienzo6955 Thanks for your message Sylvia. In my haste to reply to you I forgot Bluetooth to connect headphones wirelessly to your iPad..
I would be happy to post a CD to you with the tracks on but. of course, that would mean putting an address on the internet, which you probably would not want to do.
I hope you solve the problem one way or another, good luck!!
Oh my goodness Michael thank you ❤️✨
It's my pleasure MariLee, thank you for listening, I'm really pleased that you like the video.
I love Jussi bjorlings voice. His voice is so beautiful it unreal! IMO he's the Greatest Tenor Ever...👏👏👏👏👏🇮🇪🇸🇪🐐...
Thanks for listening and for your comment Celine.
Micheal Spyres has a really interesting video about him. He was talking about overtones, and how there was this big study of thousands of people who were played clips of all the great tenors from the last 100ish years, from Caruso through to Pavarotti through to Florez (I think was the newest), and the voice they picked as the most "beautiful" (that was the specific term they were after) was Bjorling, and the researchers found that he (and Gedda too) had unique overtone signatures compared to the rest, because I guess Nordic Folk/choir music is huge into overtones.
It makes sense, cause they are critical for opera singing. Thats basically all squillo is at the most basic level. Just enhancing overtones in the 2-5kHzish range
Absolutely - best tenor of all times!
Love this , Bravo Michael. I was listening to him singing O Helga Natt, for the last 4 years. He's Incredible! You Certainly Know Good Voices by Amazing Tenors from the past.👍👏👏👏👏👏❤🇮🇪...
Thanks for listening Celine, glad that you like this one. Yes, Christmas time just wouldn't be the same without Jussi's O Helga Natt.
His “O Helga Natt” is untouchable.
Thanks Michael - what a feast! And more photos to enjoy while listening to Jussi's amazing voice!
It's a pleasure Megan, thank you for listening/watching, I'm really pleased that you enjoyed the video.
Wonderful remastering. The voice is so vital and the interpretation full of heart! Many thanks!
It's my pleasure Christian, thank you for listening, I'm glad that you enjoyed the video.
Divine, liquid gold!
Thanks for listening Sheila, I'm glad that you enjoyed it.
Siempre maravilloso Jussi!!!!
Thanks for listening Leonardo, I think these are great performances.
Many thanks for uploading these wonderful arias ! .- “Of all 20th century tenors, Björling is the one who possessed the most perfectly balanced combination of a voice of unmistakable beauty (sufficiently ample and wide-ranging to cope with a vast repertoire), exceptional musicality and technical assurance.”(from Jussi Björling: The Supreme Singing of a Shy Man By Stephen Hastings)
It's my pleasure, thank you for listening I'm glad that you like the video. I found the article that you quoted from, I'll enjoy reading it in full later.
My dear Michael,you've done a wonderful job...his voice shines with magnificence...and descends into the depths of my soul...thank you so much!
It's an absolute pleasure Gemma, thank you for listening and for your kind words, I'm really pleased that you enjoyed the video.
Have a good Sunday my dear friend!
Vale!
@@gemmadestate3216 You too Gemma.
@@gemmadestate3216 Hello Gemma, I replied to you on Sunday but must have forgotten to click on "Reply".
I hope that you also had a good day and VALE!!!!!!! (and now I find that I did click on "reply" so please ignore this message)
@@michaelmcgrailengland Don't worry, dear friend
Until we speak again:vale!!!
absolutely moving voice, truly a gift to the world. the remastering work is also very well done.thank you for sharing these.
It's my pleasure Andrew, thank you for listening, I'm really pleased that you enjoyed the video.
Pavarotti explained my voice comes each maybe every 25year but a voice likes Jussi comes every 100 years
Thanks for listening Petter, how right Pavarotti was.
En fremragende sanger🌹🎶🌹🎶🌹🤩! Jeg var bare 8 år når jeg hørte JUSSI for første gang i 1960. Og hvilken sang hørte jeg da. O helga 🌟✨💫 Natt. Da måtte jeg gråte lit. For en stemme.
Thanks for listening and for your comment Elvind.
You mentioned O Helga Natt and you might like a video of it that I uploaded last year. It has good quality audio, an added spoken Christmas greeting from Jussi and colourized photos.
If ever you want to watch the video the link to it is
th-cam.com/video/juGPcku2Ghc/w-d-xo.html
Thank you for sharing this adorable post. Exquisite melodies, interesting information and beautiful art-work. Love it. Congratulations. 😊🌹
Hello Rosa Angela I somehow missed this comment when it came in.. Thank you for watching/listening, I'm glad that you enjoyed the video, they are a great set of arias and the good recording shows very well the quality of his voice. Jussi had plans to re-record, in stereo, some some of his earlier mono recordings but, unfortunately, that was not to be.
@@michaelmcgrailengland Good morning! I also admire the old recordings a lot. It highlights the beauty of another era, with the technical means of that time. Thanks for sharing your collection. Warm regards to you.
Marvelous, I listened to great Jussi's voice many times he's exeptional and stays one of the greatest voices ever. Thank you for sharing your accomplished working.
It's my pleasure Josephine, thank you for listening, I'm really pleased that you enjoyed the video.
Sublime. Il mio idolo fin dalla mia infanzia. Purtroppo mai ascoltato dal vivo😢
Thanks for listening and for your comment Luigi.
A living sound! Wonderful re-mastering!
Thanks for listening and for your kind words Mary, I'm really pleased that you enjoyed the video.
Thank you Michael.
It's my pleasure Steve, thanks for listening and keep up the good work yourself.
I have this album. The recording of Lamento di Federico is the best I’ve ever heard.
Thank you for listening and for your comment John.
Jussi is the best and most complete tenor of all times - "the Jussi sound" is unique😘
Thanks for listening and for your comment Nils.
@@michaelmcgrailenglandThank you to you too! I listen to Jussi almost every day for the last 65 years. I also won the Jussi quiz at the Norwegian Opera in 2011 - when they celebrated his 100th birthday. No other tenor - apart from perhaps Caruso - is even near Jussis level - he has his own
"league"!
@@Jussitheonlyone Thanks for your message Nils and well done winning the quiz, I'll bet you were proud of that!
BELLEZA PURA
Thanks for listening and for your comment Luis.
Food and drink for the soul.
Jussy Bjoerling (1911-1960), fue considerado por una comisión lírica internacional que tiene su sede en Grecia y se reúnen una vez al año para calificar el desempeño del arte lírico en el planeta. El año antepasado, esta comisión emitió un comunicado según el cual declaraba las voces de Jussi Bjoerling y la de María Callas, como las voces de tenor y soprano más brillantes del siglo pasado. Esas voces de tan sublime belleza no fueron italianas, como muchos lo hubiesen deseado, pues Jussi fue sueco y M. Callas una neoyorquina de padres griegos.
My favorite Caruso record if I had to name just one, is the Martha quartet recording, just listened to it on my old wind up Victrola and the emotion he brings to it and the beauty of voice is heard well, even in that very old recording.
It's not one of my favourite arias but Caruso does sing beautifully on it, as do the other great singers with him.
I think my own favourite Caruso would be either Ombra mai fu or Feneste che lucive.
I'm glad you still have the strength to wind up your old Victrola!
@@michaelmcgrailengland It's a fine quartet of course, I don't mind your teasing, my 1918 wind up still works fine after 105 years and doesn't need to be plugged in, just wound up, which a 10 year old child could do. As far as Caruso, he was a king of tenors, and those who actually saw him knew it, like my grandparents, they are all gone now . He sounds great in that quartet, I believe you have posted it.
I heard Jussi in the flesh three times in the 1950s.These recordings capture the tone of his voice better than any other recordings I know. It was the clear ringing tone, wonderful top notes and musicianship which was so marvellous.
Thanks for listening and for your comment Ray. You are a lucky man to have seen Jussi on stage and, although I did not have that pleasure myself, I'm sure that you will be right about these recordings capturing the true sound of his voice.
How lucky you were!!
@@vickiw3335 1955 was the peak at the Royal Albert Hall with thev 6000 audience going mad.
Meravigliosa figura d' artista !😍😍
Thanks for listening and for your comment Sandro.
Magnificently sung and Magnificently presented Michael.
There are no words to describe the sheer beauty and majesty of Bjoerling’s golden voice- I marvel, as we all do, at listening to those wonderful sounds; every note is a 💎 gem.
PS I didn’t know that Bjoerling owned a racehorse as observed during the final notes of the last aria !
Thanks for listening and for your kind words Lawrence, I'm glad that you enjoyed the video.
I can't remember where I found that photo or whether he owned the horse or was just having a day at the races. John McCormack had a string of racehorses and his ambition was to win the Derby, but he never succeeded.
Jussi, is and always will be the GOAT.
Thanks for listening and for your comment Graham.
Federico's lament is the best ever,no doubt about it.Jussi beat the Italian's at their own game.Certainly it was recorded by some great Italian tenors ,but not anywhere as passionately as Jussi.I weep inside at his singing. everytime I hear his voice.
Thanks for listening and for your comments Lynda.
Sublime
Thanks for listening and for your comment, very pleased that you enjoyed it.
Anche stanotte mi riconnetto con la BELLEZZA...
Vale!!
@@michaelmcgrailengland Thank you my dear friend
Vale!
Had he lived as long as Dorothy Kirstin, (1910)I could conceivably have seen him in person. He voice was as fresh at the end of his life as the beginning. He would have sung beautifully well into his 60s I believe.
Thanks for listening Jef. Yes, his voice seemed to me to improve rather than deteriorate as he got older.
Dear Jef, you and I have no way of knowing if Bjorling could have sung well into his 60s. Perhaps you could pick up a copy of ''Jussi'' written by Andrew Farkas & Anna-Lisa Bjorling. Page 318. I have no recollection of what brought it about, but after the Turandot recording, Jussi's period of sobriety came to an end. In Ann-Charlotte's words. An alcoholic just flips. The person you know and love when he is sober becomes someone else----he changes in front of your eyes when he becomes possessed of a need for alcohol. There is more unflattering facts about Bjorling's alcoholism, but there's no reason to bring additional information forward. In my opinion,the tenor voice fully matures in a singers mid forty's and for this reason, I believe that the great lyric Bjorling was still in his prime when he passed away at age 49, but not as fresh as the younger more exuberant singer. For some interesting reading and facts, google'' Looking Back on Mario Del Monaco'' by photographer David Akins who claims that MDM and Bjorling were his favorite tenors. He has some wonderful insight on Bjorling which I deem positive and accurate. You do have to scroll down on the page and search for his comments on Bjorling. Akins also saw Bjorling 8 times in the theater. Enjoy
IMO That book "Jussi Bjoerling" by Farkas and also the Biography of our greatest Verdi Baritone "Leonard Warren" are two of the best well written Biographies of the two great opera singers, both books pull no punches and do not "Sugar Coat" the singers as many others do, but are honest in all their professional reviews and quotes, but of Course the Jussi book had the advantage of Mrs. Anna Lisa Bjoerling, his widow adding her own musical memories of her late husband, and she also of course sang professionally, even with him as we know. Anyhow later she did re-marry, but years later after his death, she spent many long years with her Jussi. The Warren book was also terrific and that Biography was helped by added info from Leonard's sister, the late Vivien Warren, and written by "Mary Jane Phillips Matz" also not Sugar coated (as say some of the Lanza books are , very mediocre ) every JB fan should have that book "Jussi Bjoerling ". I did meet Mr. Farkas at the late Anders Bjoerling's house ( in Minn.) when I attended a JBS conference as a member there long ago, and I discussed the book with him from my view point and the high points of it .@@sugarbist
Why do people argue about the size of his voice. To posterity, he will always be a recording artist. No one will hear him in the house every again. I hear him just fine on recordings. But you don't have a major international career if you can't be heard.
@@shicoff1398 Thanks for the information
Particularly Cilea's Aria is Bjoring's song. Best in my mind.
Thanks for listening Chang, it can't be easy when you're trekking up a mountain!!
@@michaelmcgrailengland I know making long video is very hard.
Searching and choosing photos, making good sound.
Subscribers might seem to appreciate to you including me.
Useing brain is harder than body.
Have a great day Michael.
@@MountainwalkwithMusic You are right again Chang except in one thing because as I've grown older I've found that using my body is harder than using my brain and often they are both hard to use!!!
Have a good night.
Knock-out performances of all these arias. I honestly believe that none of these interpretations have been equalled, let alone surpassed, by any other tenor, with the possible exception of Enrico Caruso. The quality of the voice, the technique, the musicianship and the power of expression are surely in a class of their own. The freedom of the sound itself makes it possible for the singer to pour out whatever emotion he has within him. And what depths of emotion there are... Just listen to the Lamento di Federico. If there is a more shattering performance, I have yet to hear it!
Thanks for listening and for your comment John and I agree with everything that you say.
Jussi hade en italiensk coach som arbetade med Caruso..denne lärde honom hur sjunga på italienska
Thanks for listening and for your comment Curthy, I hope that you enjoyed the video.
@@michaelmcgrailengland Grazie a te Michael per amare Jussi
I thought it was fairly late Jussi, Michael, as it had too much punch for a 1930's recording.
You can always recognize his voice - a great lyric tenor - and who actually sings "Di tu se fedele" as it is written with a jump of an octave & a fifth. No other tenor sings it properly because the poor dears dont want to strain their voices down to C3. The only other tenor I know of who also sings it properly is Jack Cushman - & in German.
Thank you for listening and for your comment Anthony.
@@michaelmcgrailengland I will listen again; I know Un Ballo in Maschera very well - it's the lowest tessitura for any Verdi tenor apart from perhaps Otello. I am always disappointed with those tenors whose voice disappears below G4. Sopranos wouldn't get away with that.
@@anthonyehrenzweig1635 Corelli wisely avoided the role in Ballo, he did not excel in that kind of singing and would be not flexible enough for a good singing version of Ballo, but as Calaf the best in his time no doubt, live in it anyhow, and both Corelli and Bjoerling recorded it with Nlsson (Years apart) but Jussi never sang the role on stage, I'm surprised Pavarotti did sing it, it wasn't a great success for him, he was a lyric tenor also. Lauri Volpi, Del Monaco, Tucker and even Lyric Di Stefano sang it live complete , but again it fit Corelli better, like a glove, not the beautiful Lyric voice of GDS, however I saw Di Stefano singing in Tosca with Tebaldi in 1959 in house, that was when we had really great singers, not so much today.
I have the complete 1954 Toscanini Peerce Ballo radio Brdcst. which was the last for Toscanini of his Brdcsts. but Peerce does not sing the low (In "Di Tu Se fedele" ) Anyhow the Brdcst. would have been with Bjoerling, as he was asked first, but then had to turn it down, not being well at the time, and so Toscanini went on, quickly getting Peerce to sing it, as Peerce was one of his very favorite tenors at the time.
Dear Anthony, If I’m not mistaken, Domingo sang the aria as you have indicated or according to the score. There also have been many great and good tenors, including Bjorling that have taken liberties with the music and were not equipped to adhere to the score. Example: The Morendo on the last note of the Celeste Aida seemed to be effectively only done by Corelli. The Talor in Che Gelida Manina is written as a B-flat mezza voce, which I’ve only heard Lauri Volpi sing. I believe that all singers had their limitations including Bjorling who had terrific low notes and was a great lyric tenor
🎭👏👏
Thanks for listening Brendan, I'm glad that you enjoyed the video.
@@michaelmcgrailengland Thank you Michael 🎭👏
Jussi has the best of Alfredo Kraus, Luciano Pavarotti and Jose Carreras in him. He is impossibly good.
Thanks for listening to this one as well Rose. Yes, Jussi seems to cover everybody. I read recently that the American impresario Charles Wagner agreed to be his manager,
sometime in the 1930s, because he thought that Jussi's voice had the best qualities of McCormack and Caruso and the three of them have shared top place in my list of favourite tenors for many years.
Thanks Michael. I was in the audience the night, in 1954, @ Carnegie Hall, that the hot selling LP was made. You can't imagine how much more I have always enjoyed the recording, as in person, Jussi appeared to
have zero reserves of power, and not that much tonal luster, both of which are captured on the lp. By the way, how prominent his voice is in the recorded live okperformances, is simply a matter of how close he was to the microphone vs. the orchestra. Finally, it isn't clear to me what vocal quality, or singing skills, have to do with voice size, or why anyone in love with a singer would need to think that his/her instrument was large, as against the evidence, enough so that negative, on the spot, evidence, of people like Richard Mohr, & Zinka Milanov, is just ignored. My own disappointment with Jussi, in live performance, is mainly, offered to fans of his, who never heard him, in the flesh, as a kind of consolation. Frankly folks, unless you could have been seated, fully frontal, in the orchestra, you wouldn't have had an earth shattering experience. I couldn't hear him, at all, in the Dress Circle, of the old Met. Samo for Eugene Conley, Jan Peerce, & Giacinto Prandelli.
f
That's a great memory to have George, the 1954 Carnegie Hall concert, I have it on CD.
I think you've hit the nail on the head with your remark about the singers position in regard to the mic. In the 50s they didn't have the sophisticated electronic equipment that they have today (radio mics etc). In the days of great singers like McCormack and Caruso, they had no microphones, amplifiers etc but somehow they managed to project their voices enough to satisfy audiences in large theatres.
Having said all this, to be honest, I'm not really bothered about who can sing the loudest or highest I just have to like the sound of their voice and the emotions that they put into their singing and on his recorded performances Jussi is one of those that fit the bill perfectly for me.
Yes, I saw him in the role of the Duke in 1958, Chicago, I understand what you are saying, as for me I like to see a singer in house before I judge him or her, some singers do record better than others.
Don't you men 1955? (Carnegie hall) RCA released it and then years later out it out on CD's including more of the concert not on the original LP, My good long time late Friend Cantor "Don Goldberg" (almost as old as I am) he wrote the line notes for the RCA CD. Don also sang in the Met. chorus with his powerful tenor voice, RIP. Don Goldberg.
@@shicoff1398 Yes, it was 1955, I don't think there was a recorded 1954 Carnegie Hall concert, I guess George just remembered the year wrongly. The only other CD that I have of Jussi at CH is from 1958.
Correct. @@michaelmcgrailengland
The vibrato is caprato. Goat like. Yet still beautiful.
Thanks for listening and for your comment Tim.
I've never heard of the word "caprato" before and I speak only as a lover and collector of music rather than a technical expert but I completely disagree with what you say.
Jussi is still regarded as one of the greatest of the world's tenors and as well as having a beautiful voice he had a perfect technique and knew exactly when and how to use vibrato. Of course techniques have changed over the years but, in my opinion, the way that he sings these arias is as close to perfect as any singer would hope to be.
Thanks again for listening.
Goat like, Poor you to hear a Goat , i Hear a shimmering Silver hugely emotional outporing of a human Soul
@@PeterSchüle-s8e Thanks for listening and for your comment Peter.
I think you miss my point - I'm criticizing singers for failing to follow the score. Verdi wrote a C3 in this tenor aria & singers should not sing the aria if they have not got the necessary range. It's nothing to do with interpretation - just read the score.
Thanks for your reply but I'm not really interested in such technicalities. If I like what I hear that's good enough for me.
@@michaelmcgrailengland I'd pretty much agree with you, it's all about personal choices, and of course in some cases options are allowed even by composers, as in the 1954 Toscanini radio Brdcst Ballo with Jan Peerce, he sang it in the conventional way, and that was allowed by Toscanini, who was strict about certain things of course, and yet Peerce had the low notes to do it, but often times the composer did allow for options, the singer may not want to take a chance live, yet on recording does, BTW I've heard Tucker take the low note C3 live in this aria, once on a old radio Brdcst. but usually he sang it the conventional way avoiding it, as did Domingo who also did it himself , but then he started as a Baritone . Bjoerling didn't take it every time live either. There are two Brdcsts. of Jussi singing Ballo live you can hear on you tube, one is the 1940 Met. Ballo and the other a 1950 New Orleans Ballo, enjoy.
@@shicoff1398 Thanks for the information, I think I've told you before, you're a walking encyclopedia.
I'm sure the composers made many changes before the finished product and I'm also sure that they would not object to great singers making small changes to suit their voice. I read somewhere that the composers often wrote or rewrote music to suit performers who were available at the time and, although it is mostly recorded by tenors Ombra mai fu was written for a castrato.
I'm trying to do my bit to preserve the names of the great singers of the past and, hopefully, by making the recordings sound a little more up-to-date attract younger listeners but whatever the listeners age, provide music that they will enjoy listening to.
I spend a great deal of time doing this and I must admit that I do feel angry and offended when people who comment can only mention things that they don't like. It suggests that the only reason that they listened was to pick fault rather than simply enjoy the music. Luckily such comments are few and far between. I welcome constructive criticism like that that you have occasionally given in the past'.
Anyway, I can't keep up with you today so I'm heading for bed and will respond to your other comments tomorrow.
@@michaelmcgrailengland Thank you as always , of course your ahead of us for time so rest, you do a fine job with what you have available, oh that information you wrote about "Ombrau mai fu" I didn't know about it!!!. As far as picking apart singers etc. I don't pay much attention to those comments, because hearing a singer in house is an advantage of course, because it's true that some voices just don't record as well as others, but we can always hear great technique, always, I'd say those flaming great singers are best ignored, as we all hear differently, thanks for your excellent response.
I am still appalled at the way operatic tenors (& some light baritones) tackle the lower tessitura of their roles. These notes (below F3) just tend to disappear & the singers cannot be bothered either give those notes any breath or color. You often need a hearing aid even to hear the notes.
Thank you for listening and for your comment. As you have said nothing in favour of the video, I take it that you didn't enjoy it but I also take it that the criticism in your comment is directed at other singers rather than Jussi Bjorling who was, of course, far better qualified than you or I to know how to correctly interpret and present the music.
You cannot possibly be commenting on Jussi Bjorling, can you? He was considered by many to be the best tenor ever! In my humble opinion, noone ever surpassed him! The man had a God given talent, one of the most beautiful voices on earth! ❤❤❤❤
@@RamonaVanDerMerwe-ws4yb That's right - I'm sorry I didn't make myself clear. I am critical of those tenors who don't sing the true score. That doesn't apply to the recordings of Jussi Björling (that I have heard).
@@michaelmcgrailengland It's an interesting subject about cuts in opera by the opera house, and cuts by singers or transposing a high C, as far as cuts in the operatic music, the last act aria in Ballo was often in some opera houses cut as tradition, or it was left to the singer's own choice, as the Ballo role has so much tough singing for the tenor, even for Del Monaco singing Ballo live, (early in his career,) in 1946, it was cut. (Ma Se M'e Forza Perderti-Ah! Dessa e La) it also was cut for Jussi, however MDM did studio record it, Jussi didn't , but today they all sing it for better or for worse, and from what I hear today, it's not as good as before as far as great tenors!
@@shicoff1398 Thanks for your interesting comment. I don't think I'm familiar with the "cut" aria that you mention, I'll look it up later today.
Con éste gran tenor me interesó mucho la ópera. Un recuerdo muy especial de un programa de radio qué tenía 15 minutos de tiempo y fue, grandes voces del pasado yá tenía algunos discos de ópera, caruso, beniamino gigli, martinelli, Distefano, borgiolli, José mojica y otros péro con ese programa me interesó más las grandes voces, un tenor muy especial jussi bjerling, un timbre de oro y la bella helena, ese vals es muy hermoso cómo ló interpretó este gran tenor spinto.
Thanks for listening and for your comment José.
это уже не лучшие годы звук не ровный.
Thank you for listening and for your comment with which I completely disagree. I think that Jussi's voice and my remastering of the original recording sound absolutely perfect.
@@michaelmcgrailengland есть тремоло. В лучших записях голос звучал ровно
@@michaelmcgrailengland я не все тут прослушал но сразу обратил внимание на тремоло. может и не на всех записях из выложенных так. А Amor ti vieta - Fedora заметно
@@michaelmcgrailengland th-cam.com/video/AS9Dxvl2MwE/w-d-xo.html вот тут ровно абсолютно звучит
@@АркадийХаритонов-ъ5ц We'll have to agree to disagree as I don't think that the tremolo is at all excessive. Thanks for taking the trouble to reply.
Все-таки местами он уводит и глубит звук, и зажатые верхние ноты проскакивают, голос очень напряжен, и открытым звуком тоже грешит. Поваротти был честен, когда признавал, - Карузо один всегда выше всех, мы все всегда внизу. И по музыкальности с ним вряд ли кто может сравниться.
Thanks for listening and for your comment. Jussi shares top place in my list of favourite tenors with Enrico Caruso and John McCormack.
I think that Bjorling regarded Caruso as the best and McCormack and Caruso were good friends. When they met one day McCormack said to Caruso, "how is the worlds greatest tenor today" and Caruso replied "since when was McCormack a baritone". In the 1930s, the American impresario Charles Wagner agreed to be Bjorling's manager and he said that he was doing so because he thought that Bjorling's voice had the best qualities of Caruso and McCormack.
Thanks again for listening, best regards from Yorkshire, England.
3:03 3:05 @@michaelmcgrailenglandwell stated, sir!
La voz de tenor mas bella y armoniosa de todos los tiempos.
Con Caruso y Gigli forman el
trio tenoril mas grande de la histo
ria del canto.
Thanks for listening Alberto.
This is fabulous singing of the highest order. The Ballo is supreme with the giant leap from A (?) to ?, is not for your run of the mill tenor. On another list I saw this remark about JB: "He took my heart, caressed it with his voice, and put it back in a better state". So true.
Thanks for listening and for your comment Saren, I'm glad that you enjoyed it and I like your little end quote.
About Jussi, he knew (operatic) 55 roles complete, and early he sang a lot of roles in Sweden that he didn't sing later, but for me I think he was even more impressive in concert recital, as he said himself " I'm a concert singer who also sings opera", he loved concerts where he could sing a wide and polished variety of music, not just Italian and French opera's, so he would sing in fine German, German lieder, French arias, Italian arias, English songs, with almost no foreign audible accent, in every language .His great native Swedish songs where excellent, anyhow he was a very intelligent hard working artist who managed, in spite of some health problems late in his life, to sing at the same high level, dying at age 49. So when you went to a JB concert recital you got a wide variety of music, not just Italian opera aria's, s and songs, which of course he was most famous for, he loved singing his concert recitals and I'm not surprised as a concert artist he was hard to equal. RIP. Bjoerling, 1911-1960.
Yes, I couldn't agree with you more. I'm far removed from being an expert in languages or the technical aspects of singing but, to me, Jussi's great strength was that whatever he sang, in whatever language it sounded right and, as you say, he wasn't a show off and kept his emotions to a level that sounded genuine and heartfelt rather than exaggerated and false. The amount of work he must have put in to achieve what he did must have been tremendous and no doubt contributed to his health problems. I love the Carnegie Hall concerts that were recorded, they demonstrate his powers very well..
@@michaelmcgrailengland Once they came out with the 1955 Carnegie hall concert on CD they added several Aria's not included on the original RCA LP Vinyl record, as the concert on the old single RCA Vinyl LP was not complete. There was another concert sung later in 1955, that I have on a Pirate CD, where he is in perhaps in even greater voice, that one was in New Orleans. The 1958 Carn. hall is also excellent, I spoke once in Chicago to a leading Chicago Italian born operatic Conductor., Bruno Bartoletti after a rehearsal, that I was attending, and asked him about non Italian tenors singing Italian and the language, he mentioned a few he thought did so well mainly in Italian opera, both Tucker and Bjoerling, he had worked with and both in Chicago, he mentioned both men as having excellent Italian, that according to the Italian Bartoletti both excellent in the language.
His voice was magic
Thanks for listening and for your comment Angelo, I couldn't agree with you more.
Pure Magic. MAGIC.
He lives through these remastered recordings.
Thank you so much.
It's my pleasure Dana, thank you for listening, I'm really pleased that you enjoyed the video.
Some can find fault where there is none,JUSSI BJORLING STANDS ALONE TO THE LEFT of GOD .
Thanks for listening and for your comment Reginal.
La sua voce è veramente straordinaria! Grandissimo Artista…impossibile dimenticarlo…rendiamo eterno omaggio alla sua arte…❤️
Thanks for listening and for your comment Luciana.
There's a tear in that voice.
Thanks for listening Nigel and I certainly agree with your comment.
One of the great singers of the golden era !!! Left us far too early, but his legacy lives on
Thanks for listening and for your comment.
In an effort to reply to some of anthonyehrenzweig's inaccurate comments, I neglected to state how beautiful Bjorling sings these arias
Well yes, but of course as you said, he wasn't the only one who sang the aria with the low note live or in Studio. As far as the Ballo cut in the last act (of the aria,) Bjoerling said it comes after a lot of singing, he mentioned cutting the aria and was quoted, on page #192 in the Paul Jackson book "Sign off for the old Met. 1950-1966", Jackson wrote three books, earlier reviews from prior to 1950, the 1940's etc. and a later one for the late 1960's and beyond, some very strong opinions I don't always agree with (if I heard the performance in house) but good books for reference.
Thanks for listening and for your comment with which I completely agree of course.
@@michaelmcgrailengland You're quite welcome. I have always enjoyed your uploads of fine singers and appreciate the hard work that goes into it.
Bjoerling usually sang warmer live in house then in the studio, for me he was really superb in Concert recitals, where he could sing a wide variety of roles and he also had the polished technique and formal bearing for it, alone on stage with the pianist, there he gave his best works of arias and songs, in several languages, including excellent English, with little accent. He was totally secure as an artist.
@@shicoff1398 Opera photographer. David Akins writes, '' My other favorite tenor of that period was Jussi Bjorling. Bjorling was sometimes inconsistent because he would have liked to have been a heavier or more dramatic tenor. He often pushed the voice to create a larger and heavier sound. You can hear this fuller sound on the aria recital that was included with the recording of Cavalleria Rusticana that he made with Tebaldi. However, when he did this in the theater, it sounded effortful, sometimes muffled, and did not carry well. It also required much more energy and you say it was exhausting. For the reason, by the last act or so, he often switched back to his earlier production, which was not as full, but had more brilliance & squillo & really carried. That sound could fill the theater in most roles. And when he was singing in this way, which you hear on all his early records, the voice actually floated in the theater. I heard Bjorling sing 8 times & would have also gone to hear him on several other occasions had I known his life & career were to be unfortunately shortened. He did not need to sing as heavy in recitals because he was not competing with an orchestra & other singers. Also many of the theaters in which he gave recitals, were smaller than the opera houses. One should keep in mind that at that time, the opera houses in Europe had seating capacities in the range of 2,000 seats more or less, while the majority of the other European houses probably averaged less than 1,000, some even about 600 seats or less. There is a big difference for singers coming to the United States who have to sing here in opera houses that have a total capacity of 4000- 6000. Recently, I met a long time Bjorling enthusiast who had heard him sing more than 35 times, and he told me that Robert Merrill had also warned Jussi about singing too heavy in the early 1950s. He is the only tenor I ever heard, that if you heard one good act, it was worth the whole evening. Bjorling and Del Monaco were the 2 greatest tenors I heard during the last 60 years, although I have heard many other wonderful tenors who also sang marvelous performances,'' Of course this is one person's opinion who often heard may singers through his work of taking operatic photos, but his comments about Bjorling seem interesting.
😮I couldn't agree more Michael. You've nailed what really counts. Spot-on!
Sublime! Thank heavens he was recorded during his lifetime!
Thanks for listening. Yes, we're lucky to have all the wonderful recordings that he made. He had plans to re-record some of them in stereo but, of course, was unable to do so.
Micheal Spyres has a really interesting video on his channel that mentions his voice. He was talking about overtones, and how there was this big study of thousands of people who were played clips of all the great tenors from the last 100ish years, from Caruso through to Pavarotti through to Florez (I think was the newest if it was the study i found), and the voice they picked as the most "beautiful" (that was the specific term they were after) was Bjorling, and the researchers found that he (and Gedda too) had unique overtone signatures compared to the rest, because I guess Nordic Folk/choir music is huge into overtones? It makes sense tho, cause they are critical for opera singing. Thats kinda what squillo is at the most basic level. Just enhancing overtones in the 2-5kHzish range.
Anyway it was really interesting, Id never heard him but i wanted to find a good recording. I put a spectrogram app on my phone up to the speaker btw and the few notes where theres not too much background his "spikes" in frequency are noticeably different than italian/french etc. singers!
If you put a Pavarotti or a Florez singing an A4 through it, it will read A5 sometimes cause that overtone is very pronounced.
4:33 Bjorlings run for example was appearently an "E7 down to "A6ish", and that was consistent. Nearly every note I checked it thought was in the 6th or 7th octave. Same setup and settings as I used for the others, even used the same songs where possible. But theres clearly a difference.
Thanks for listening and for your interesting comment Andrew.
I never knew you could pick up overtones in studio recordings. I did hear Di Stefano live in concert at Carnegie Hall circa 1962. His voice was very much like it sounded on records except for the beautiful overtones in the theater, which I never heard before or after that experience with Di Stefano.
Un "Di tu se'fedele"unico...e tutto il resto:canto sublime di una voce altrettanto sublime, unica.
Hello Gemma, it's lovely to hear from you, thanks for listening, I'm glad that you enjoyed the video.
Thank you SO much for this and for posting the four versions of “O Helga Natt”. I first heard his voice my sophomore year at University and it changed my life forever. Are you a JBS-USA member? I have the privilege of now being on their Board of Directors.
It's my pleasure Vicky, thank you for listening, I'm glad that you are enjoying some of my videos.
Three tenors share first place at the top of my list of favourites, Enrico Caruso, John McCormack and, of course, Jussi Bjorling and I started my TH-cam channel in order to help to preserve their names by uploading recordings with improved audio in the hope that younger listeners might find them more acceptable.
I read in Anna Lisa Bjorling's biography of Jussi that in the 1930s the American entrepreneur Charles Wagner agreed to be Jussi's manager because he felt that his voice had the best qualities of Caruso and McCormack, so my three favourites are a nice mix.
I'm not a member of the JBS-USA. I'm actually in the UK. but I wish every success to your organisation.
The most beautiful and expressive tenor ever. He died way too soon.
Thanks for listening and for your comment William.
At 83 I still sing these arias except Un Ballo. Somehow I don’t have the music. But Jussi is an inspiration. His “salut demeure “ high C and the Stabat mater high Db are so heavenly!
Excellent photo montage.
Thanks for listening Peter, I'm glad that you like the photos.
Thanks for wonderful photos ,Jussi to the point !
It's a pleasure, I'm glad you like them. Colourizing the photos has slowed down my uploads but they are part of the enjoyment of the videos and show something of the lives of the singers on and off the stage and what sort of person they were.
@@michaelmcgrailengland Magical photos indeed many thanks
E'la solita storia is marvelous! One of very best I have heard. Aria from Manon to is so full of beauty despite all of its anguish. Grea sampling of the part of legacy of J.B.
Thanks again for listening.
Interesting info from "Shicoff1"......what a treat to have such marvelous singing to be used as "filler"......a real bonus!!
Thanks for listening Mike. Yes Shicoff is a mine of information. He was in the music business, met many of the great singers, saw Jussi in concert in Chicago and even had tea at the Lanza's house.
You probably already know that Jussi and the conductor Nils Grevillius had plans to re-record, in stereo, many of Jussi's old mono recordings.Such a pity that cruel fate took a hand, I think this selection is a good indication of how good the re-recordings would have been. To my ears his vocal powers seemed to have increased, rather than diminished, as he grew older.
@@michaelmcgrailengland Saw JB singing the Duke in 1958, Chicago Lyric opera with Moffo and Gobbi. A great role for him.
I have the London box set of Cavalleria Rusticana with Bjoerling, Tebaldi and Bastianini, conducted by Alberto Erede. The arias also are conducted by the same. The stereo sound is quite good but microphones seem rather close to each other by today's standards where the "depth" seems to be lacking. However, the clarity and orchestral/vocal balance is outstanding.
Thanks for listening and for your comment.
Yes, this is side 4 of the Cavalleria Rusticana album. I have had it on vinyl for 50 years.
Thank you for listening.
Una de las voces más bellas oídas en la lirica...ha traspasado las épocas....gratitud para ti Jussi....
Thanks for listening and for your comment Luis.
In my comment I made an error. I thought of aria from La Fanculia del West, not aria from Manon. Sorry.
Even Richard Mohr, who produced some of Jussi's full length opera recordings, stated that Jussi's voice was lost, at the old Met, & Zinka Milanov commented on the smallness of his voice, but it's fair to write that he was audible at orchestre level standing room, from where I heard him in Don Carlo, when it was revived, in the late 50's. However, he was completely drowned out by Robert Merill, in the duet, & wobbled badly, in 'Io Perduto', because he pushed so hard to project. These are hard facts, which merit no rhetoric, & I repeat that hearing his recordings better signals his greatness, which is undeniable.
Thanks for listening and for your comment George.
Every singer records better in the studio environment, of course, and you do get conflicting opinions on how he sounded in house but, you can't deny the fact that he became one of the world's greatest operatic tenors on the strength of his live performances, not just on his records.
I have the recordings that were made of two operas "live" at the met and although the audio technical quality is poor, I think that they show that he certainly was not overshadowed by the orchestra and this is confirmed by the reaction of the audience. I've only uploaded two arias from the recordrings to date but, if you wanted to have a listen, I've put links below. Thanks again for listening.
tth-cam.com/video/i1edMt2G--Y/w-d-xo.html
th-cam.com/video/umevsfN6Jh4/w-d-xo.html
Bjoerling sang the opening Nov. 6th, 1950 of the Met. Don Carlo, he is not my favorite tenor of all I saw in house, but one of my top fav's in his Lyric roles and in some roles he didn't sing live being basically Lyric, but he did record, so for me it depends largely on the role with any singer, as far as the singing live, a singer often gives more emotion too a live audience and might not be as perfect as on a studio record with re-takes etc. but I like live best for most singers for emotion they give lots to a live audience even if not as perfect or mechanical , JB was much warmer live, live there is pick up Mic's . on stage for the radio or TV Brdcst. (if it is a brdcast.) Now I have been at opera's in house with many singers that where Brdcst. on radio and then re-brdcst later, so I saw them in house and then "heard it ALSO later on the radio" you cannot ever know it quite the same way 100% on the radio as if your in there in house for the opera!, the singer sings into the pick up mic's on stage and even if it's a small voice of course it can seem larger or better, or smaller then it really was--- either way. Now getting into JB, I saw him in Rigoletto and had no problem hearing him, though the voice was not in volume as on his records, less spinto, smaller, but in the role of the Duke it carried very well in that opera, others like GDS or Bergonzi later, and of course Tucker had bigger voices for success in bigger roles, that JB did smartly avoid, but he would not be hired again and again if his voice was constantly too small in his lyric roles to carry, yes he wasn't his best in the 1958 Aida live in the big Chicago opera house, but sang really well, and was successful in his other roles there and in NYC. and in fact in 1957 he sang in four opera's in Chicago, Chicago is a big house of 3 ,583 seats, and except for Aida and some moments in Trovatore (where in 1955 he sang it with Callas) his reviews where very good. Tucker and later Corelli had voices twice the size of Jussi, but they where both true Spnto's and excelled in different roles, I'd rather hear Jussi in Boheme then Corelli (he did sing it) but Corelli or Tucker in Don Carlo or Aida fit them. JB made a great Aida record with Zinka M. . The only way too really know voice size, Squillo etc. is hearing a taped in house opera taped in the Audience, as taped on cassette, as I did tape many times in house in the late 1960's and later, and believe me there are some opera's like that on you tube, perhaps even Jussi, not a Brdcst. but taped there in house, I did it with both Tucker, Corelli, Shicoff, Domingo, Jose C. Pavarotti and many more, but studio records can boost the sound up, like with Barry Morell, excellent singer but when I saw him it was with far less impact then on his records or even some live Brdcst's where, he also was Lyric and a very good tenor, even if not ranked as a great in the 1950's and 1960s, Bass voice "Jerry Hines" said on studio records Jussi sounded like 2 Caruso's, yes on recordings, but in house he was more Lyric, and they both where great but very different. IMO Caruso was a king of tenors as probably #1 but I never heard him of course, my family/ grand parents did and loved him. @@michaelmcgrailengland
The Met. gala you must have seen where Bjoerling sang Cielo E Mar was March 3rd 1956, and the Don Carlo you saw with Bjoerling and Merrill was March 29th, 1957 . The only way to really know voice power and squillo as you say, is being in the opera house.
@@shicoff1398 Well, I don't know what your doctor has given you but it certainly seems to have worked. I'll have to ask him to cut the dose down, I'm having problems keeping up with you!!!
Sorry, actually I don't feel well and the meds they give me are making me tired very depressed and sick, so stay well my friend, you never know how long good health will be yours, take care and keep up the good work you do. I heard the Met. radio Brdcst today of Ballo, well not bad, but not near what we had in the old days, for me, Tucker, Jussi, Pav. Corelli, MDM, GDS, Bergonzi, Tagliavini and the beautiful voice of semi classical singer Mario Lanza whose voice turned me on to opera when I was 10 years old in 1950!
😊🙏👍
Thanks for listening. Glad that you enjoyed the video.
Have been a devotee of Bjoerlings art since high school in the early 1960's. A music teacher introduced us to his classic album of "La Boheme" which I would subsequently purchase and listened to frequently over the years with Victoria de Los Angeles, Robert Merrill, Lucine Amara, Georgio Tozzi and Beecham conducting. A classic album. Luciano Pavarotti was being interviewed some time ago. The interviewer offered names of previous tenors and asked Pavarotti what his judgment was of these tenors, When it came to Bjoerling he merely stated , "i'm only human." what a tribute from one who was great in his own way.
Thanks for listening and for your comment Russell.
Perfect playlist! Six top numbers in fantastic sound quality.
Thanks for listening, I thought that you would like this one. What a great days recording it was, and just to fill an LP.
These recordings of arias or songs by Jussi are unequaled in beauty and total professionalism! ❤ Makes me realize why I love this mans voice so much! For me he will always be No 1 tenor!❤
Thanks for listening Ramona, I'm glad that you enjoyed the video. Unlike most singers, Jussi's voice seemed to me to improve as he got older.
You are right - best tenor of all times!!
He is the best of all times and ever !!
Thanks for listening and for your comment Tony.
Best tenor of all times!!!!
❤❤😂❤❤❤❤
Thanks for listening Anne, glad that you enjoyed the video.
I'm not a big fan of the Paul Jackson books, one I have is "Sign off for the old Met. 1950-1966" which is 644 pages, he makes some comments based solely on Brdcsts he has heard, not attended all of them, and of course that isn't quite as accurate as being in house, I've been in house and the show was later repeated on a radio Brdscst. I could hardly believe it was the performance I was at, because the voice of the tenor was very big on top in house but on the brdcst, was only middle sized by comparison, but it was the show I attended because on the later Radio Brdcst. of it, I heard my own "Bravo" yelled out for the tenor, that while seated at home on my radio! So being in house is at times different and Jackson wasn't at all of them in house, just of course his educated opinion, on page 192 he mentions the Ballo cut with some singers, BTW back at old Met. Juive of course was cut quite a bit and often, as it would have been Wagner long otherwise and in concert performances they don't usually want it that long. Tucker sang it at Carnegie hall in a concert version with the usual cuts, back in 1964, then in London at (festival hall) in March 4th. 1973 with Hayashi, and in Spain in 1974 also, in London (1973) at age 59 but of course some cuts, he did always sing the Cabaletta after the big Rachel aria, he was fearless and never did omit the cabaletta in it, as it is often done today without the cabaletta, critic Henry Pleasants gave it a excellent review. Tucker died 2 year later suddenly from a long standing heart condition, Shicoff sang it at the Met. and in Vienna in 2003 without the cabaletta as I recall but was fine in it, giving a great job, especially in his acting action which was outstanding, I saw it.
I did not mention above, but in 1973 after the March London Juive, Tucker sang it again, staged at the New Orleans opera, before that he had tried , even offered to pay met opera manager Bing for some of a Juive production , he wanted to sing it at the Met. but Bing said no, it's old music! Anyhow the Met. at the time didn't want it, so he sang it in London, New Orleans and Spain, there last, just a couple of weeks before he suddenly died of a heart attack in Michigan, Jan. 8th, 1975, just a few hours before a scheduled joint concert, which was going to be with Robert Merrill, but of course didn't happen. RIP.
@@shicoff1398 That's very interesting and I can just imagine you nearly jumping out of your seat when you heard your own voice shouting Bravo!!
@@michaelmcgrailengland Well I was shocked that the radio Mic. picked up my shouting Bravo!, good acoustics there! Two other times something happened with different results, once I was up in the lower balcony in Chicago, a pretty big opera house, (3,583 seats) with good acoustics and very few dead spots, Neil Shicoff was singing the tenor role of "Don Jose" in "Carmen " he was having a fantastic night, (then at age 41) so after the famous flower song aria he sang with great passion and squillo, I yelled Bravo loudly several times (and I don't have a very attractive voice) I knew him for years (since the 1970's) and so I went back stage and he said I heard you yelling "Bravo" and everyone backstage did and was asking me who is that? He said if I yelled like that, I wouldn't be able to sing for a week! With Tucker it was a different and nice story, Richard Tucker and Merrill where singing a concert in Chicago in 1973, I was in Chicago at the time and both sang arias and duets, Tucker sang one aria with such ease and power and volume at the ending (Africana aria) that it was like a jet plane landing in your living room, so I yelled from up close, about the 5th row down front "Bravo Tucker" he looked straight at me as he received great applause from the house and he mouthed the words right to me "Thank you" He did appreciate his fans and I taped a lot of that concert in fair sound on cassette so have a good memory of it. Merrill was also excellent that night in May of 1973 in Chicago at the big old Auditorium theater with good acoustics, they had no carpet to dull sound, all wood, even the seats just wood! Caruso sang there as it was much older then the 1929 built opera house.
@@shicoff1398 Another of your interesting memories but are you sure it was "thank you" that Richard Tucker mouthed to you!!
@@michaelmcgrailengland Yes! I know the difference between "Thank You" and "F You"
I'm sure you are right. Unfortunately I have 2 special bugbears, one - tenors with no depth below G/F3 & two - sopranos who sing contralto roles like Rosina in Barber of Seville.
Some of the singing he does here is done in a way that seems a bit too heavy for his voice to come into its own.
Thanks for listening. I respect your opinion, of course, but my own opinion is that his singing on all of these arias is absolutely perfect.
Он глубит местами звук, оттого и напряжение в голосе.
@@michaelmcgrailengland What on earth does that mean..."come into its own"???
@@AndrewRudin Thanks for listening Andrew and, to be honest, I don't know what the comment means.
@@AndrewRudin "Come into one's own: become fully effective, used, or recognized." Be at its most favorable.
Jussi sounds wonderful here, but I heard him sing Cielo @ the old Met, during a gala performance, & could only hear the last note, which wobbled, because he was pushing so hard, trying to be heard. To say that this fellow Swedish American fan was disappointed, is an understatement. Incidentally, are you sure this recording is early. He was a lot less spinto, in the old days. A great tenor, admittedly, but 😮one with a very small voice.
Thanks for listening George. I used the word "early" with reference to the fact that is an early stereo recording from 1957. I think that was the year that the very first stereo LPs were issued and some were not very good from a technical point of view.
You dont understand anything about opera thats clear and say he he had a very small voice its rediciolous ,go back under your stone their you belongs.
"small voice"?? His voice is larger than life..
@@johnraina4828 Well said John. This is what a lady who had seen him "live" at the Met replied when asked by someone if he had a big enough voice.
"Yes, his voice was so perfectly placed that it shot right up to the top of the Met. I used to go $2.00 standing room at the Met which was way up in the back. I especially remember him singing in Manon Lescaut. Wonderful"
I think the "Cielo e Mar" you are mentioning was in 1956 at a Met Gala. BTW I saw him in 1958 at age 18, in Rigoletto, of course he was a magnificent singer and had great technique but the voice was not as on records, he was more lyric then spinto