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Operatic Arias Jussi Bjorling in mono...
Orchestra conducted by Nils Grevillius
To Jussi Bjorling belongs the distinction, rare for a Scandinavian artist, of having gained his international reputation entirely in French and Italian opera. Northern lands have long yielded a rich crop of singers particularly suited to Wagnerian roles, but Bjorling's lyrical timbre, warm tone -colour and easy ranging compass won for him a place apart among tenor stylists in opera of a Latin idiom. Eight complete opera recordings in recent years have testified to his exceptional qualities, but his fame first spread far and wide through numerous operatic arias he recorded between 1936 and 1948. It is a selection from these which are now collected and presented in LP form.
Even then, Bjorling was an artist of veteran experience, having first appeared in public at the age of six and made many concert tours as a member of the Bjorling Quartet with his fater, Karl David, and his brothers, Karl Johan Olof (Olle) and Karl Gustaf (Gosta). The Quartet was obliged to break up when Jussi ceased to be their treble star and showed signs of becoming a budding tenor. He was born johan Jonaton Bjorling at Stora Tuna in Sweden on 2nd February 1911. After studying with his father, and later at the Stockholm Conservatoire and Royal Opera School, he made his opera debut in 1930 at the age of 19 singing Don Ottavio in Mozart's Don Giovanni at the Royal Theatre Stockholm.
Jussi Bjorling was a regular member of the Stockholm Royal Opera until 1939. He first appeared at the Metropolitan Opera, New York, in 1938 as Rodolfo in Puccini's La Boheme, and at Convent Garden, London, on 12th May 1939 as Manrico in Verdi's Ll Trovatore. Since 1945 he has remained one of the leading tenors at the Metropolitan Opera, and has been a guest artist at many other opera houses in Europe and America, but his London appearances have regrettably been confined only to concert hall recitals.
EMI Records Limited,
RIP 6th September 1960.
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Let the Good Times Roll...................
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On vinyl....
I particularly enjoyed Mozart's Symphony No. 41.
I particularly enjoyed Mozart's Symphony No. 41.
To be is to do: Socrates
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Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
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Spoken like a true Toscanini fan.fergus wrote:On vinyl....
I particularly enjoyed Mozart's Symphony No. 41.
What do you make of those performances? I do like Hans Rosbaud.
"To appreciate the greatness of the Masters is to keep faith in the greatness of humanity." - Wilhelm Furtwängler
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I enjoyed them Seán; they were "warm" performances which is not an adjective that one would always associate with the music of Sibelius.Seán wrote:What do you make of those performances? I do like Hans Rosbaud.
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: What are you listening to?
On vinyl....
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
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This set contains music that I have been relatively unfamiliar with. The music is beautiful and very engaging and comes in a number of different forms. The performances are strong and assertive yet devotional. Some of the soloists that I immediately recognised were Helen Donath, Lucia Popp, Brigitte Fassbaender, Robert Tear and Dietrich Fischer-Dieskau among others that I personally do not know. They all sing wonderfully well individually and collectively. The solo and orchestral accompaniments are very sympathetic and the overall performances are very well held together and directed resulting in performances that are very rewarding, enjoyable and inspiring and which made a big impression on me.
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
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"Kermes singing Hasse" is all I need to hear!Jose Echenique wrote:
In spite of Kermes´shortcomings "Dramma" is valuable for many never before recorded arias by De Majo, Porpora, Hasse, Leo and Pergolesi.
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Lovely Fergus, thanks for that.fergus wrote:
This set contains music that I have been relatively unfamiliar with. The music is beautiful and very engaging and comes in a number of different forms. The performances are strong and assertive yet devotional. Some of the soloists that I immediately recognised were Helen Donath, Lucia Popp, Brigitte Fassbaender, Robert Tear and Dietrich Fischer-Dieskau among others that I personally do not know. They all sing wonderfully well individually and collectively. The solo and orchestral accompaniments are very sympathetic and the overall performances are very well held together and directed resulting in performances that are very rewarding, enjoyable and inspiring and which made a big impression on me.
"To appreciate the greatness of the Masters is to keep faith in the greatness of humanity." - Wilhelm Furtwängler
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Ludwig van Beethoven
Piano Concertos 3 & 4
Royal Concertgebouw Orchestra
Murray Perahia - piano
Bernard Haitink - conducting.
I love these performances. Perahia's playing is gorgeous, the Concergebouw are a terrific orchestra but Perahia is the real star on these recordings and not in an intrusive way either. I have seven different Beethoven cycles and this set leaves them all in the shade, Perahia is, well, magnificent, elegance personified.
"To appreciate the greatness of the Masters is to keep faith in the greatness of humanity." - Wilhelm Furtwängler
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La Serenissima is a good group, I heard it live a couple of years ago, and although the Gramophone would like us to believe it´s in the Europa Galante or Giardino Armonico class, (it is not), one is thankful that they sensibly record offbeat programs instead of another 4 Seasons.
Here the theme is Venetian Music, and though the music chosen is not specifically night music, it makes for very pleasant late night hearing. Concertos and instrumental music by Vivaldi (inevitable), Albinoni and Veracini alternate with some less well known names like Porta and Pollarolo. We also get a few vocal items sung prettily by Mhairi Lawson, including a Lotti motet.