anche se è un tono sotto resta fra le migliori interpretazioni in francese, ovviamente quella di kraus è perfetta (d'altronde kraus era noto per essere bionico).... se solo kraus avesse avuto la voce di bjorling avremmo ascoltato un dio cantare
It is interesting that he sings this down a whole step. It is said that Caruso transposed Che Gelida down, to avoid the High C, but I don't recall hearing that Bjorling was nervous about his C. As long as we're comparing score to performance, also, the final repetition of "Charmant souvenir" is added by almost everyone, but not in the published score, which ends on the fifth, a sustained e natural.
Puo' darsi che lo stile sia italianizzante e non quello "richiesto da Bizet" (sic!). Non me ne importa niente. Jussi é ancora una volta il migliore, timbro virile ma dolce, legato da sogno, acuti eccelsi. per me il migliore Nadir all times :) a meno che non si confonda la mezza voce col falsettone :)
A tone down? What about the tone then? The sound of the voice? BirdArvid must have been a "ordningsman i skolan". Booring to hear u. Ordnungsman in schule or The student who kept order in the schoolclass. With glasses on and a total neird.
Just for the sake of rightness, he's singing it a tone down, which in NO WAY diminishes his beautiful singing, but it makes comparisons impossible. This aria is fiendishly difficult, but somewhat less so a tone down, which means you can approach it very differently. So, please enjoy the singing, but don't compare this to others (unless they also take it down a tone..)
I own everything Jussi ever recorded, I prefer a softer dreamier approach yet the last note is one of those full voiced pianinsimmi which were a glory of his singing.
From all I have read including his wife's excellent bio, Bjoerling sometimes could be just stubborn and irrational. For the most part almost everthing he recorded IMO belongs in the top 10 recordings of that piece and/or opera.
@65attila You also have the new in october relesed 4 CD 100 yers celebration album???
There are some tracks never relesed before. This new collection is in a class of it´s own. It´s really his very best recordings and all of it is LIVE recordings!
The 1954 Holy Night is beyond understanding - didn´t even know it existed - a small audience and just a piano!
I think my favorites are Sergei Lemeshev, D'Alessio, and Di Stefano. But Jussi is always good (in spite of singing in full voice here). And Kraus is good, of course. I also like Rolando Villazon (in spite of the falsetto he uses). For me, Gedda and Tucker sing too much on the beat, and Gigli makes some strange choices in terms of breathing and held notes. This is an incredible piece of music, isn't it? I feel very bad that Bizet didn't live longer.
@leoniemikele replying to myself. Just heard a different Gedda recording, much more musical in terms of phrasing, but I wonder if some of his notes are too close to the tight line between being intonated correctly and being flat? Most singers err on the side of being a tiny bit sharp.
I just listened to the Alfredo Kraus version everyone mentions . . . it is sung full voice also, and he too elongates the dotted rhythms . . . maybe it's just really hard to sing this aria with the optimal lightness and lilt. But Kraus's is very nice, and ultimately it's a matter of taste whether anyone sings it lightly enough.
While I agree with everyone who has pointed to the lack of the "reverie" effect in this rendition and preferred Kraus or Gigli, I still can't rule this one out altogether. His timbre has a quality to it that, though sung with full voice, it still does create the necessary distinction and contrast to a heroic aria, well at least to my ears. His French is good, and there IS a always a "dreaminess" to Jussi's voice after all, which compensates for the possible lack of delicacy ;-)
Although his glorious voice as always impresses you, I agree that he should've sung this differently. This is not one of his best, and the orchestra isn't helping either.
I love Bjorling, but what he does to the rhythm in this aria bugs me. It needs to rock like a barcarolle, and if you mess with the triple-meter feel, it loses its semplice feel AND ceases to sound like a daydream. Liberties are one thing, and I'm all for them, but here he just jams the opening into a different meter. I much prefer Kraus in this aria-- dreamy, simple, perfect.
The explanation to why Bjoerling didn't use the fantastic 'whispery voice' when needed, is that he didn't dare. According to his wife, he seldom did in opera, nor very often in recordings. The taste then was very much for "boomers" like Corelli and Del Monaco. Sixten Ehrling tells that the most glorious tenor sound he ever heard came when Bjoerling repeated - and did sing quietly but much more beautiful...
Bjorling's singing has always something psalmic in it. I wouldn't be surprised if he had have confessed some influence by some Slavic orthodox priest.
Actually, the incredible Jussi Bjoerling (my favorite lyric tenor of all time) spent a GREAT deal of time on his technique...he was very much a scholar of the vocal arts.
As an anecdote, it is documented by those close to him that he spent approximately 3 years developing "the perfect onset".
But I don't think extensive training detracts from the impressiveness of results! I surely hope not for my own sake!
I adore Bjorling but his full-voiced rendition of this piece has always puzzled me: for all his vocal splendor and exquisite taste, Bjorling seems to forget that "Je crois entendre encore" is a daydream. I think in all modesty that the delivery should have been be more nuanced. Why didn't he use his haunting mezzavoce? Please note that I am not critcizing Bjorling (only a madman could do it), in fact I am one of the most fervent admirers of Jussi's golden tones.
@horowitz109 Parce-qu'il ne pouvait pas faire autrement.S'il avait retenu sa voix, il aurait perdu son appui.C'est toute la problématique de cette très belle voix:Si elle ne timbre pas,elle perd de sa couleur .Or tout son charme est là.Comme aux échecs,le sacrifice s'impose!
@horowitz109 I´m not going to criticize him either. But the fact of the matter is that he sometimes wrote smiling faces on his music to indicate that the music was happy. So even though his voice and musical taste was brilliant, he might not have been of the most intelligent interpretators the world has ever seen...
@Piacevole: I think it is somewhat tonedeaf to suggest that he was not a very intelligent interpreter. Very few would agree. There is much appropriate tenderness, nuance, joy, passion, rage in Jussi's recordings, e.g., the ending of this Je crois entendre. He clearly knew it should be tender. Notes to self in a score do not negate that. Recall the huge amount of repertory he had to carry around in his head. Not enough space to list songs showing that was no emotional stiff.
contatolirico - Lei ha ragione , ma da 30 anni i tenori cantano spesso - 1/2 tono,e tutti sono contenti !!!! NEMMENO BJOERLING ha una voce sublime ,e anche L`interpretazione e stupenda . Con rispetto !
Why didn´t Bizet write the high C in the score? The orchestra takes it, but just like in "Che gelida manina" the composer skips it , why? I have never heard Jussi sing "mezza voce" above A-natural which can explain the transposition a hole step down ending on Bb-flat in fullvoice. Bjoerling had an easy top but not that easy. I think his stardom is based on his timbre long before his high notes which are great but the "held back cry" in the voice is what draws me to listen,listen and listen!
I have the score for La Boheme and Puccini in front of me and it shows that Puccini wrote from the end of "stanza" C F G Ab D nat.Eb. Then there is the alternative line were the first syllable of "speranza" moves from Ab to C in a tuplet.
Without access to the original manuscript I cannot be sure but it seems the purported Bb has never really existed except on "...chi son" on bar 29.
I think it would be a brave tenor who did not sing the C because it is expected.
Dunno. I just checked on my piano against other singers. Jussi had perhaps the most secure upper notes of any tenor in the20th century. I have heard him sing Ds and D-flat with ease so the transposition down a full tone is inexplicable unless it was something the conductor requested for some artistic reason.
You can say whatever about his voice cause it's personal if you like it or not, but as far as technique goes, he's unmacthable. Many singers start with the breathing so as to refrain from breathing in the next bar. Noone could breathe more seldom than Jussi Bjorling, that amazed all who sang with him.
Although I admire Bjorling, this aria is even better sung by Gedda and best of all by Kraus.
Bjoerling was, IMHO, the greatest Nordic tenor who ever sang. Personally, I found his singing to be flawless, but in this aria I find Gedda (#2 in my book) to e superior. His French is flawless as is his technique. Bjoerling sounds more heroic, which doesn't fit the role. Krause had a beautiful ppp aas well, but he doesn't match either of them.
Funny, I always hear the entire public speak about who is 'better' but at the so called conservatories and music schools they won't use that word and denounce its use. I was at an Aspen Music Fest master class 12 days aog and the teacher said "depends how well they sing it' when I asked could any of their singers sing Una Furtiva Lagrima. She said it was no more difficult to sing than any of their songs, which were all up to G. If its so easy why don't they sing it
One point to keep in mind is that while some singers record or program arias in recital, they may never actually sing the roles of which the arias are only parts. In that sense, consideration about singing arias, in any context, is much different than it is about singing songs.
>You can say whatever about his voice cause it's personal
Right!
However this is not an Aida aria, it is a romance. Hence you can say that Mr. Björling do not catch character of the music when he sometimes used to much forte.
Some people here complain about his technique. I don´t know much about singing techniques, but his interpretation of this aria is the most touching one I've ever heard...to me it seems that he sings this with all his soul, all his heart..and what a warm timbre in his voice...awesome!
This is transported a half tone down (which is fine, if it suits him more) but taking breath in frases in the beginning, when not supposed to... quite surprising.
Meraviglioso, è vero un peccato che sia morto appena quarantanovenne. Grazie mille carissimo Walter per questo video stupendo. Secondo me sono comunque molto valide anche le interpretazioni di Kraus, Gedda e Gigli.
His rendition is "brusque". It is too "triumphal", loud and mechanical. I don't feel the emotion. This is supposed to be a reverie, a lingering memory of lost love.
I love nearly all of bjorling's renditions, but this one while beautiful in it's own right doesn't do it completely for me. I think the other swede, Gedda does this particular aria the best, Though I still think Bjorling is the greatest recorded tenor in history.
I love Björling like I love the air I breathe, but this isn't the definitive version of this. For that, turn to Gigli's 1925 recording. It's only flaw is that it is in Italian rather than French, if that's a flaw.
This is a VERY hard aria to pull off and I have yet to hear a recording that fully does the aria justice; my favorite recordings are actually the old McCormick (!?) version in Italian and Leopold Simoneau from his complete recording of the opera. For a change, listen to Domingo's.
Well then you should listen to Nicolai Gedda or Paul Groves to really get the sense of this romanza. Jussi approaches this from a late Puccini vocal style; this lacks legato, dynamic control, finesse...and it's sung a whole step down.
My point is that the music dictates the style and Gedda was adaptable to many different styles, Bjorling was not. This is not Jussi's fach, and he just blasts through it, that's my opinion.
spgtenor, Jussi was very capable of mezza voce singing, but it just wasn't his temperament. He sang 'Ingemisco' in half voice at a rehearsal, & the conductor said it was the most beautiful mezza voce singing he had ever heard. This is a tenor who, technically at least, was the complete master of his voice. However, this aria was never published in his lifetime, because he wouldn't approve it. he was unhappy with his performance. Possibly for the reasons you stated.
@oratoriooPour la retenue ,OK ;mais Vanzo,avec sa voix dans la luette?Pitié,nous ne parlons plus de la même chose.Dans ce cas ,pourquoi pas Tino Rossi?C'est déjà plus joli.Ah,le bon goût français que tout le monde nous envie! Fais moi rire encore,francophone!Si tu entends le chant comme tu écris ta langue,alors tout s'explique...
Beautifully sung overall, but needs exoticism in the tone and not so much strength on the top. Needs to float on the top with much transparency of tone. No full-bloodied Bs and Cs; more piano, more liquidity. Too much masculinity here. One needs to think and sing luxuriously, languidly for this aria. One doesn't need to "prove" anything in this aria but dream and "look through the voice", singing with ultimate limpidity, a golden flow of liquid, molten sunlight ravishingly reflected in the moon.
However in italian repertoire his accent was almost perfect, and shows his artistic counsciousness.
The first opera I bought, so many years ago, was Trovatore with Bjorling, Warren and Milanov. I can still hear their sublime voices introducing me in that enchanted world. Grande Jussi.
Mon commentaire sur l'accent n'avait pour but que d'expliquer au Canadien anglophone que Björling n'est pas Québequois. Je ne juge absolument pas sa performance sur l'accent.
Et pour cause, il était Suédois !, je chante également cet air pour ténors, l'un des + durs du répertoire. C'est la version la plus pure, la meilleure et de loin, un si aigu de toute beauté, magnifique et non pas comme trop souvent un si en tête pure, et que dire du contre-ut final. C'était de mon point de vue le meilleur ténor de son époque.
devant tant de beauté que viennent faire vos critiques d'accents, elles ma paraissent vraiment stupides et déplacées.Que ce soit en français ou en portugais ou en anglais ou que sais je la mélodie reste ainsi que le timbre de la voix
le première fois que j'ai entendu cet extrait c'était en portugais, alors vos histoires d'accents me semblent bien loin de l'essentiel, qu est, à mon ses la mélodie et e timbre de la voix.
Je n'irai pas jusqu'à dire que son accent est superbe, je doute qu'un accent puisse l'être. Cela dit, il n'est pas Québecois pour deux sous. Essayez la version de Kraus Canto ou de Gilmour, et là vous verrez ce que veut dire avoir un accent.
Superb, Just enjoy, I love Gedda too,,,why compare??? different performances,,,enjoy BOTH. As to the French pronunciation,,,so what?? Can French singers pronounce Swedish properly??
Qu'est-ce que vous savez des Québécois et des Français? Et comment pouvez-vous juger de l'accent français? Le fait que vous utilisiez le mot "pronunciation" dans une phrase française semble indiquer que vous êtes un canadien anglais. En fait, contrairement à ce que vous dites, l'accent français de Jussi est tout simplement superbe!
I had my recording of the hungarian tenor Tibor Udvardy, Hungaroton 1950 or around listen to this Bjorling takes me away of the werther style french rfomaniticism just sing when you have voice for... sounds ... yes he had a voice Pavarotti prostrated in front of
prostrando His Majesty Bjorling... how many beers you have? the almaighty blessed you and you are among the archangels of singing what is this? God's note? is human listen to it I am to listen 100 times more
His voice is amazing. It seems he can sing more comfortably with full voice than falsetto on the high notes. Color of his voice is the same from low to high. Kind a like a trumpet.
One of the most beautiful melodies sung by the most sublime voice of all times. I can hear other tenors sing this one and think it very good. But every time I hear Jussi sing it, I cry. Nobody else comes even close.
You can understand why Björling wasn´t totally happy with this recording.
Gigli, Lemeshev, Tagliavini and Gedda all have very good versions, I think.
RudySunseeker 3 weeks ago
Magnifico!...Pero lo canta a l'italiana.
corzoidor 1 month ago
Sencillamente emocionante. Gracias.
Ninogar1 2 months ago
Comment removed
Ninogar1 2 months ago
Sublime.
cherkit 2 months ago
it makes me happy and sad the same time, he is Great
estbla1425 2 months ago
Jussi Bjorling is God
muzikbaz 2 months ago
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not terrestrial, can only be described as heavenly.
TheSAMANTHALAURA1 2 months ago
Sublime, wonderful and sad.
ilswk 3 months ago
The best of all !
MrFrenchaccent 3 months ago 2
Une des voix de ténor les plus émouvantes
valerievar 4 months ago in playlist Vidéos favorites de valerievar
IMHO,the best tenor ever in every department,his "Nessun Dorma" is superb.
fryxcd7v 4 months ago
@fryxcd7v Absolute perfection in his technique
petion2010 4 months ago 3
In this aria the trumpet like quality of Jussi's voice is so pronounced. I have never heard another tenor even approaching those ringing top notes.
Bjorlingmiracle 5 months ago 4
@Bjorlingmiracle To me, the best lyric tenor of all time.
petion2010 2 months ago 2
@petion2010
I completely agree! I would even pronounce him THE greatest Tenor of all times. :)
Bjorlingmiracle 2 months ago 6
Bjoerling is sublime, but I somehow like the Gigli version better - such a velvet like quality it has.
selim10001 5 months ago
anche se è un tono sotto resta fra le migliori interpretazioni in francese, ovviamente quella di kraus è perfetta (d'altronde kraus era noto per essere bionico).... se solo kraus avesse avuto la voce di bjorling avremmo ascoltato un dio cantare
fra1979it 5 months ago
It is interesting that he sings this down a whole step. It is said that Caruso transposed Che Gelida down, to avoid the High C, but I don't recall hearing that Bjorling was nervous about his C. As long as we're comparing score to performance, also, the final repetition of "Charmant souvenir" is added by almost everyone, but not in the published score, which ends on the fifth, a sustained e natural.
ngaurhoth 6 months ago
Jussi number 1 of all time !!!
MrFrenchaccent 6 months ago 2
@cuoredeinidi
YOU are wrong. The Romance is written in A minor,
and Björling sings it in G minor, i.e. a tone down.
jean1938 7 months ago
@cuoredeinidi un cellettiano alla porta? :)
federricoilgrande 7 months ago
Extraordinario, sublime.
LAZARUSREX1 7 months ago
Great singer an lovely melody. I love it. - Erkele
Erkele 7 months ago
Puo' darsi che lo stile sia italianizzante e non quello "richiesto da Bizet" (sic!). Non me ne importa niente. Jussi é ancora una volta il migliore, timbro virile ma dolce, legato da sogno, acuti eccelsi. per me il migliore Nadir all times :) a meno che non si confonda la mezza voce col falsettone :)
federricoilgrande 8 months ago 4
@federricoilgrande Yes, i agree with you! Jussi was the greatest lyric tenor of all times!
suffes 6 months ago
Respect et admiration à vous Monsieur Bjorling, qui chantiez tout à la perfection ...
Grazie per il post !
francesca7564 8 months ago
MARAVILLA ESA VOZ ERA MARAVILLOSA
benedicto11 9 months ago
A tone down? What about the tone then? The sound of the voice? BirdArvid must have been a "ordningsman i skolan". Booring to hear u. Ordnungsman in schule or The student who kept order in the schoolclass. With glasses on and a total neird.
Siriusfanatiker 10 months ago
A tone down? What about the tone then? The sound of the voice? BirdArvid must have been a "ordningsman i skolan". Booring to hear u.
Siriusfanatiker 10 months ago
Just for the sake of rightness, he's singing it a tone down, which in NO WAY diminishes his beautiful singing, but it makes comparisons impossible. This aria is fiendishly difficult, but somewhat less so a tone down, which means you can approach it very differently. So, please enjoy the singing, but don't compare this to others (unless they also take it down a tone..)
BirdArvid 10 months ago
That was incredibly good. The final pianissimi...what? Excellent. Brightened my evening.
tenortime51 11 months ago
Une voix vibrante qui fait chavirer le coeur. Quelle merveille !!
mclaudine1 11 months ago 2
Björling had one of the greatest voices!
Popperite 11 months ago
Favoloso!
Fasolt100 1 year ago
INCREDIBLE.
coryisawake 1 year ago
I own everything Jussi ever recorded, I prefer a softer dreamier approach yet the last note is one of those full voiced pianinsimmi which were a glory of his singing.
From all I have read including his wife's excellent bio, Bjoerling sometimes could be just stubborn and irrational. For the most part almost everthing he recorded IMO belongs in the top 10 recordings of that piece and/or opera.
65attila 1 year ago
@65attila You also have the new in october relesed 4 CD 100 yers celebration album???
There are some tracks never relesed before. This new collection is in a class of it´s own. It´s really his very best recordings and all of it is LIVE recordings!
The 1954 Holy Night is beyond understanding - didn´t even know it existed - a small audience and just a piano!
suffes 1 year ago
@suffes
Thank you for the information. I have not heard of the 1954
"O Holy Night" .
Thanks-John
65attila 1 year ago
is he singing in french?
Nnemicvids 1 year ago
I think my favorites are Sergei Lemeshev, D'Alessio, and Di Stefano. But Jussi is always good (in spite of singing in full voice here). And Kraus is good, of course. I also like Rolando Villazon (in spite of the falsetto he uses). For me, Gedda and Tucker sing too much on the beat, and Gigli makes some strange choices in terms of breathing and held notes. This is an incredible piece of music, isn't it? I feel very bad that Bizet didn't live longer.
leoniemikele 1 year ago
@leoniemikele replying to myself. Just heard a different Gedda recording, much more musical in terms of phrasing, but I wonder if some of his notes are too close to the tight line between being intonated correctly and being flat? Most singers err on the side of being a tiny bit sharp.
leoniemikele 1 year ago
I just listened to the Alfredo Kraus version everyone mentions . . . it is sung full voice also, and he too elongates the dotted rhythms . . . maybe it's just really hard to sing this aria with the optimal lightness and lilt. But Kraus's is very nice, and ultimately it's a matter of taste whether anyone sings it lightly enough.
winobuff 1 year ago
While I agree with everyone who has pointed to the lack of the "reverie" effect in this rendition and preferred Kraus or Gigli, I still can't rule this one out altogether. His timbre has a quality to it that, though sung with full voice, it still does create the necessary distinction and contrast to a heroic aria, well at least to my ears. His French is good, and there IS a always a "dreaminess" to Jussi's voice after all, which compensates for the possible lack of delicacy ;-)
RoyKa2010 1 year ago
The gratest tenor of the 20th century !!! Thank you!
73efarta 1 year ago
Quelle diction!Bien des chanteurs français actuels devraient en tirer leçon!
abracadabranque 1 year ago
Although his glorious voice as always impresses you, I agree that he should've sung this differently. This is not one of his best, and the orchestra isn't helping either.
zgopify 1 year ago
I love Bjorling, but what he does to the rhythm in this aria bugs me. It needs to rock like a barcarolle, and if you mess with the triple-meter feel, it loses its semplice feel AND ceases to sound like a daydream. Liberties are one thing, and I'm all for them, but here he just jams the opening into a different meter. I much prefer Kraus in this aria-- dreamy, simple, perfect.
flutebat 1 year ago
@ flutebat Parles- tu des tenues interminables?
celuiquitefaitpeur 1 year ago
@flutebat Got to agree with you on the rhythm. The dotted notes make this melody, and they're lost here.
winobuff 1 year ago
The explanation to why Bjoerling didn't use the fantastic 'whispery voice' when needed, is that he didn't dare. According to his wife, he seldom did in opera, nor very often in recordings. The taste then was very much for "boomers" like Corelli and Del Monaco. Sixten Ehrling tells that the most glorious tenor sound he ever heard came when Bjoerling repeated - and did sing quietly but much more beautiful...
mozzrt 1 year ago
i love this rendition; i love the way he gently scoops the note @ :46-:47
davidpar2 1 year ago
This aria is perfect for Jussi's lyrical voice.
tomfroekjaer 1 year ago
Bjorling's singing has always something psalmic in it. I wouldn't be surprised if he had have confessed some influence by some Slavic orthodox priest.
amakrid 1 year ago
Extraordinary !!!, he is sure a Master Class. One of the best of the best of all time!!!Bravooooo!!!!!
tenorschofield 1 year ago 2
WOW this is amazing, he is singing this aria a full step lower than it is written.
leggerotenor 1 year ago
Can't get enough. Thank you for this gift!
Dalton5851 2 years ago
I just do not know how Bjorling gets such a full bodied ringing sound on those top notes! Truly phenomenal.
flaze3 2 years ago 2
@flaze3 He must have had enough lung space to warm the North Pole, and that kind of voice is not "coached" it is God-given.
sillyboydeux 2 years ago 3
We can still learn from the masters :~)
flaze3 2 years ago
Actually, the incredible Jussi Bjoerling (my favorite lyric tenor of all time) spent a GREAT deal of time on his technique...he was very much a scholar of the vocal arts.
As an anecdote, it is documented by those close to him that he spent approximately 3 years developing "the perfect onset".
But I don't think extensive training detracts from the impressiveness of results! I surely hope not for my own sake!
aaronsande 2 years ago
Sublime,una bellissima interpretazione.Grazie .
bodiloto 2 years ago 26
The kyrics ( personal translantion):
I believe hearing again;hidden under palms,
her voice ,tender and high,like a bird's song.
Oh enchantering night,divine rapture,
oh charming memory,crazy euphoria, sweet dreams ...
At stars light,i believe see her again,
open her long curtains,to the mild night wind.
(chorus again)
charming memories , charming memories .....
baronsamedi974 2 years ago 2
Just perfect!!!!
Jussi Björling was truly a genius of singing.
Karlott
Alfifa 2 years ago 3
I don't understand the words, ... but ... when Jussi sings, I am moved to tears ... his achingly haunting timbre just slays me.
only1jussi 2 years ago 4
Learn french ! Jussi's pronounciation is perfect.
Apprends le français ; la prononciation de Jussi Björling est parfaite.
numadori 1 year ago
I adore Bjorling but his full-voiced rendition of this piece has always puzzled me: for all his vocal splendor and exquisite taste, Bjorling seems to forget that "Je crois entendre encore" is a daydream. I think in all modesty that the delivery should have been be more nuanced. Why didn't he use his haunting mezzavoce? Please note that I am not critcizing Bjorling (only a madman could do it), in fact I am one of the most fervent admirers of Jussi's golden tones.
horowitz109 2 years ago 4
@horowitz109 Parce-qu'il ne pouvait pas faire autrement.S'il avait retenu sa voix, il aurait perdu son appui.C'est toute la problématique de cette très belle voix:Si elle ne timbre pas,elle perd de sa couleur .Or tout son charme est là.Comme aux échecs,le sacrifice s'impose!
abracadabranque 1 year ago
@horowitz109 I´m not going to criticize him either. But the fact of the matter is that he sometimes wrote smiling faces on his music to indicate that the music was happy. So even though his voice and musical taste was brilliant, he might not have been of the most intelligent interpretators the world has ever seen...
Piacevole 1 year ago
@Piacevole: I think it is somewhat tonedeaf to suggest that he was not a very intelligent interpreter. Very few would agree. There is much appropriate tenderness, nuance, joy, passion, rage in Jussi's recordings, e.g., the ending of this Je crois entendre. He clearly knew it should be tender. Notes to self in a score do not negate that. Recall the huge amount of repertory he had to carry around in his head. Not enough space to list songs showing that was no emotional stiff.
winobuff 1 year ago
才一聽到Björling的聲音，就讓人捨不得離開，這就是天籟。感謝提供者。
wxchang1247 2 years ago 3
His voice was a gift from God, pure gold. There will never be anyone like him in our lifetime.
Iwanhoe1 2 years ago 3
I love how he sings it with his voice. and doesn't do any of the crooning so many other tenors do when they sing this piece.
jmahlon 2 years ago
This is a masterpiece!!
True art of singing!
Bravo Jussi!!
maxhansendk 2 years ago 3
It will probably not be sung better in our life times.
Lovelytenor1 2 years ago 2
Ancora una volta Jussi da le mele a tutti, troppo superiore grazie Bjoerling!
federricoilgrande 2 years ago 2
contatolirico - Lei ha ragione , ma da 30 anni i tenori cantano spesso - 1/2 tono,e tutti sono contenti !!!! NEMMENO BJOERLING ha una voce sublime ,e anche L`interpretazione e stupenda . Con rispetto !
bodiloto 2 years ago 3
Why didn´t Bizet write the high C in the score? The orchestra takes it, but just like in "Che gelida manina" the composer skips it , why? I have never heard Jussi sing "mezza voce" above A-natural which can explain the transposition a hole step down ending on Bb-flat in fullvoice. Bjoerling had an easy top but not that easy. I think his stardom is based on his timbre long before his high notes which are great but the "held back cry" in the voice is what draws me to listen,listen and listen!
Bjoerrelli 2 years ago
I have the score for La Boheme and Puccini in front of me and it shows that Puccini wrote from the end of "stanza" C F G Ab D nat.Eb. Then there is the alternative line were the first syllable of "speranza" moves from Ab to C in a tuplet.
Without access to the original manuscript I cannot be sure but it seems the purported Bb has never really existed except on "...chi son" on bar 29.
I think it would be a brave tenor who did not sing the C because it is expected.
donaldrose 2 years ago
does anyone know why Björling sings this a whole step down?
themusicman428 2 years ago
Dunno. I just checked on my piano against other singers. Jussi had perhaps the most secure upper notes of any tenor in the20th century. I have heard him sing Ds and D-flat with ease so the transposition down a full tone is inexplicable unless it was something the conductor requested for some artistic reason.
donaldrose 2 years ago
singers only started singing this up to pitch in the last 20 years or so,
the opera sits high from top to bottom, then this aria which sits above an E normally.
crwv 2 years ago
This is my favourite song af all!! That means all contemporary singers and songs too.
Jussi, my Jussi! This song is dear to my heart!
No one came close. I have listened to them all. From Sobinov 1911 and forwards.
maxhansendk 2 years ago
The most beautiful song ever, cant make up my mind who is better, Kraus or bjorling!
JessicaDolceTerra 2 years ago
Signori - questa incisioni... - 1/2 tono
Gedda e Kraus la cantano nel tono originale.
contatolirico 2 years ago
Comment removed
bodiloto 2 years ago
Bravoooooooo!!!!!!!
SrbijaKosov0 2 years ago
You can say whatever about his voice cause it's personal if you like it or not, but as far as technique goes, he's unmacthable. Many singers start with the breathing so as to refrain from breathing in the next bar. Noone could breathe more seldom than Jussi Bjorling, that amazed all who sang with him.
Although I admire Bjorling, this aria is even better sung by Gedda and best of all by Kraus.
zgopify 2 years ago
"zgopify"
>Although I admire Bjorling, this aria is even better sung by Gedda and best of all by Kraus.
I agree what with your thoughts about Mr Gedda, but not when it comes to Mr Kraus.
His technic does not allow soft pianos.
ForAll23 2 years ago
Bjoerling was, IMHO, the greatest Nordic tenor who ever sang. Personally, I found his singing to be flawless, but in this aria I find Gedda (#2 in my book) to e superior. His French is flawless as is his technique. Bjoerling sounds more heroic, which doesn't fit the role. Krause had a beautiful ppp aas well, but he doesn't match either of them.
revallen 2 years ago 4
Funny, I always hear the entire public speak about who is 'better' but at the so called conservatories and music schools they won't use that word and denounce its use. I was at an Aspen Music Fest master class 12 days aog and the teacher said "depends how well they sing it' when I asked could any of their singers sing Una Furtiva Lagrima. She said it was no more difficult to sing than any of their songs, which were all up to G. If its so easy why don't they sing it
schipa456 2 years ago
One point to keep in mind is that while some singers record or program arias in recital, they may never actually sing the roles of which the arias are only parts. In that sense, consideration about singing arias, in any context, is much different than it is about singing songs.
nickditoro 2 years ago
I disagree on Gedda and Kraus.
Bjorling sings this better than anybody I've ever heard.
jonerik8 2 years ago
"zgopify"
>You can say whatever about his voice cause it's personal
Right!
However this is not an Aida aria, it is a romance. Hence you can say that Mr. Björling do not catch character of the music when he sometimes used to much forte.
ForAll23 2 years ago
Some people here complain about his technique. I don´t know much about singing techniques, but his interpretation of this aria is the most touching one I've ever heard...to me it seems that he sings this with all his soul, all his heart..and what a warm timbre in his voice...awesome!
Ridade1020 2 years ago 3
Who complains about his technique? Bjorling was an impeccable singer.
Although he's my favorite tenor, I prefer Vanzo and (especially) Gedda on this song.
johnhoie 2 years ago 2
This is transported a half tone down (which is fine, if it suits him more) but taking breath in frases in the beginning, when not supposed to... quite surprising.
huhas1 2 years ago
He sings this romance as loud as he sang Celeste Aida. Strange.
AulicExclusiva 2 years ago 2
Yes it is.
He is not the only one. Other famous singers do the same misstake, e.g Mr. Domingo, Mr. Korshunov.
I really do love Mr Björling, but in this aria (romance) he missed the point.
The woman will probably run away.
ForAll23 2 years ago
Proprio una grande interpretazione, la classe non si discute.
malamutet 2 years ago 3
Meraviglioso, è vero un peccato che sia morto appena quarantanovenne. Grazie mille carissimo Walter per questo video stupendo. Secondo me sono comunque molto valide anche le interpretazioni di Kraus, Gedda e Gigli.
31122051 2 years ago 2
His rendition is "brusque". It is too "triumphal", loud and mechanical. I don't feel the emotion. This is supposed to be a reverie, a lingering memory of lost love.
444age 2 years ago
Jussi I love you!
And I love Alain Vanzo too.
SENAFOREVER 2 years ago 2
Comment removed
RudySunseeker 2 years ago
Thank you very much, macciboma. Best regards, t.
tho88888888 2 years ago
Bjorling is perfect but Miguel Fleta is the top !
PARDALETA 2 years ago
I love nearly all of bjorling's renditions, but this one while beautiful in it's own right doesn't do it completely for me. I think the other swede, Gedda does this particular aria the best, Though I still think Bjorling is the greatest recorded tenor in history.
JB = god
bustudent011 2 years ago 4
Comment removed
RudySunseeker 2 years ago
@bustudent011 I agree with you on Gedda and Bjorling.
bianco1972 1 year ago
I love Björling like I love the air I breathe, but this isn't the definitive version of this. For that, turn to Gigli's 1925 recording. It's only flaw is that it is in Italian rather than French, if that's a flaw.
badpdx 2 years ago
daccordo con il conte, anche se ho una preferenza x Gigli e una menzione particolare per Kraus.
odontotazio 2 years ago
Le meilleur avec Sergei Lemeshev .
jacquesurlus 2 years ago
an excellent, superb technique.Great maestro.
OperaticVoice 2 years ago
gigli e bjorling i migliori in quest'aria.
ilconte1963 3 years ago
kijk ook eens bij [tenor costa milona] is ook goed
cornedekok 3 years ago
It's transposed.
crimsontoxic 3 years ago
crimsontoxic -> It's transposed.
Does it matter? It´s it beautifully performed.
Jussi was a virtuoso with a brilliant high C.
I think he had his reasons.
By the way, he is not the only one.
ForAll23 3 years ago
Wow,the definitive version. Stunning.
suzek55 3 years ago
It's pretty good. The only blemish is his fortissimo at the beginning of the last phrase, and on the word doux near the end.
pasfresh123 3 years ago
500000000000000000000000000 stars!
ncb003 3 years ago 10
WOW
ncb003 3 years ago 5
Merveilleux.....
Excellente diction.
Compliments.
gabaude81 3 years ago 4
oui, meilleur encore que Kraus et bien sûr 10x meilleur que Groves.
pasfresh123 3 years ago
Voor mij nog steeds de beste uitvoering, persoonlijk gehoord en gezien in de jaren 40/50
Onvergetelijk en nog nooit verbeterd
johan1034 3 years ago 2
Jussi Bjorling is the best, je crois entendre encore.
gauss2005 3 years ago
Jussilla upea ääni!
zeiar 3 years ago
Exactement ce que je disait, stupide étalage de racime.
jacquesurlus 3 years ago 2
Cosi' si canta...senza falsettini e falsettoni, voci di testa e noiosità varie. Grande Jussi!
neronnenn 3 years ago
Eh, sì!! Tutto mezzoforte, forte o fortissimo e senza espressione, come sempre. Così si canta?
MPM1943 2 years ago
Oh god it's so exquisite and tender that my heart feels like it's going to explode out lol.
ideale123 3 years ago 2
I love this. Alfredo Kraus also does a superb interpretation.
marcmomus 3 years ago 3
This is a VERY hard aria to pull off and I have yet to hear a recording that fully does the aria justice; my favorite recordings are actually the old McCormick (!?) version in Italian and Leopold Simoneau from his complete recording of the opera. For a change, listen to Domingo's.
grenma 3 years ago
This is the intro to the Johnny Depp film the man who Cried. The entire film is on youtube.
anne241163 3 years ago
See Sleepy Hollow a great film.
Stunning horses!
buttsyrc8 3 years ago
Exquisite! He makes me cry.
esolc22 3 years ago
merci. my favorite version
pants401 3 years ago
One of the best nardirs ever
trombo8 3 years ago
Well then you should listen to Nicolai Gedda or Paul Groves to really get the sense of this romanza. Jussi approaches this from a late Puccini vocal style; this lacks legato, dynamic control, finesse...and it's sung a whole step down.
spgtenor 3 years ago
"get the sense of this romanza"?
"late Puccini vocal style"?
I'm sorry, but I don't agree with you.
What you don't like is not style, just different type of voices.
Gedda and Groves sings with most of head voice, but voices as Bjorling, or Bonisolli can't, they have more chest voice in all the register.
But I think Bjorling is great, and this aria is sang excelent.
emalag999 3 years ago
My point is that the music dictates the style and Gedda was adaptable to many different styles, Bjorling was not. This is not Jussi's fach, and he just blasts through it, that's my opinion.
spgtenor 3 years ago
spgtenor, Jussi was very capable of mezza voce singing, but it just wasn't his temperament. He sang 'Ingemisco' in half voice at a rehearsal, & the conductor said it was the most beautiful mezza voce singing he had ever heard. This is a tenor who, technically at least, was the complete master of his voice. However, this aria was never published in his lifetime, because he wouldn't approve it. he was unhappy with his performance. Possibly for the reasons you stated.
hiyadroogs 3 years ago 4
2:
Of course frech legato is realy different from italian verismo, but for me he is doing correctly.
Tell me if I'm wrong.. I'm an student too.
Regards
emalag999 3 years ago
Kraus y Joerling maestros de maestros.
OperaticVoice 3 years ago
3 times BRAVAAA...
s3par3knumalas 3 years ago 2
Sublimissime !!!
Almirena08 3 years ago 2
Magnifique ténor, l'un des plus grands de son époque, ou même de tous les temps.
Et son accent français est très bon malgré ce que disent certains non francophonnes!
Mais pour cet air, je préfère quand il est chanté avec plus de retenue.
Alain Vanzo en fait une interprétation magistrale, ainsi que Beniamino Giggli...
oratorioo 3 years ago
La sua voce è tanto l'impida e brillante, che si avvicina al tono di una tromba, grande uno dei migliori. grazie Walter
macciboma 3 years ago
@oratoriooPour la retenue ,OK ;mais Vanzo,avec sa voix dans la luette?Pitié,nous ne parlons plus de la même chose.Dans ce cas ,pourquoi pas Tino Rossi?C'est déjà plus joli.Ah,le bon goût français que tout le monde nous envie! Fais moi rire encore,francophone!Si tu entends le chant comme tu écris ta langue,alors tout s'explique...
abracadabranque 1 year ago
Beautifully sung overall, but needs exoticism in the tone and not so much strength on the top. Needs to float on the top with much transparency of tone. No full-bloodied Bs and Cs; more piano, more liquidity. Too much masculinity here. One needs to think and sing luxuriously, languidly for this aria. One doesn't need to "prove" anything in this aria but dream and "look through the voice", singing with ultimate limpidity, a golden flow of liquid, molten sunlight ravishingly reflected in the moon.
Trinite33 3 years ago
t'es tu un poète toi?
Gille2416 3 years ago
oui, je suis poète-romancier-peintre, philosophe-théologien, ténor-imprésario, etc. - amitiés.
trinte33 3 years ago
However in italian repertoire his accent was almost perfect, and shows his artistic counsciousness.
The first opera I bought, so many years ago, was Trovatore with Bjorling, Warren and Milanov. I can still hear their sublime voices introducing me in that enchanted world. Grande Jussi.
bellinianodoc 3 years ago
Mon commentaire sur l'accent n'avait pour but que d'expliquer au Canadien anglophone que Björling n'est pas Québequois. Je ne juge absolument pas sa performance sur l'accent.
Erynalwiin 3 years ago
Et pour cause, il était Suédois !, je chante également cet air pour ténors, l'un des + durs du répertoire. C'est la version la plus pure, la meilleure et de loin, un si aigu de toute beauté, magnifique et non pas comme trop souvent un si en tête pure, et que dire du contre-ut final. C'était de mon point de vue le meilleur ténor de son époque.
kreos78 3 years ago
strange I read JB did not like this recording, maybe the echo but it was released long after he died anyhow, very fine, hell it's great.
pearlmuth3 3 years ago
Amazing...
AndreeaMKU 3 years ago
devant tant de beauté que viennent faire vos critiques d'accents, elles ma paraissent vraiment stupides et déplacées.Que ce soit en français ou en portugais ou en anglais ou que sais je la mélodie reste ainsi que le timbre de la voix
IMANGE74 3 years ago
le première fois que j'ai entendu cet extrait c'était en portugais, alors vos histoires d'accents me semblent bien loin de l'essentiel, qu est, à mon ses la mélodie et e timbre de la voix.
IMANGE74 3 years ago
Non so con quale accento pronunciava il francese, ma con quel timbro poteva cantare divinamente anche in mongolo!
bellinianodoc 3 years ago
Hai ragione l'accento francese è marginale,
e poco importane ciò che conta è la voce
e come canta bene.
Grazie
macciboma 3 years ago
Je n'irai pas jusqu'à dire que son accent est superbe, je doute qu'un accent puisse l'être. Cela dit, il n'est pas Québecois pour deux sous. Essayez la version de Kraus Canto ou de Gilmour, et là vous verrez ce que veut dire avoir un accent.
Erynalwiin 3 years ago
Superb, Just enjoy, I love Gedda too,,,why compare??? different performances,,,enjoy BOTH. As to the French pronunciation,,,so what?? Can French singers pronounce Swedish properly??
Ivanhoe2 3 years ago
Oufff!!!! The french pronunciation is awful!!!
Très mauvaise pronunciation en français. Il semble quebecois!!!
warriaga 3 years ago
Qu'est-ce que vous savez des Québécois et des Français? Et comment pouvez-vous juger de l'accent français? Le fait que vous utilisiez le mot "pronunciation" dans une phrase française semble indiquer que vous êtes un canadien anglais. En fait, contrairement à ce que vous dites, l'accent français de Jussi est tout simplement superbe!
notrichandnotfamous 3 years ago
Votre commentaire n'est qu'un stupide étalage de racisme.
jacquesurlus 3 years ago
I had my recording of the hungarian tenor Tibor Udvardy, Hungaroton 1950 or around listen to this Bjorling takes me away of the werther style french rfomaniticism just sing when you have voice for... sounds ... yes he had a voice Pavarotti prostrated in front of
egymagyar1111111 3 years ago
prostrando His Majesty Bjorling... how many beers you have? the almaighty blessed you and you are among the archangels of singing what is this? God's note? is human listen to it I am to listen 100 times more
egymagyar1111111 3 years ago
His voice is amazing. It seems he can sing more comfortably with full voice than falsetto on the high notes. Color of his voice is the same from low to high. Kind a like a trumpet.
codyb73 3 years ago 4
Wonderful... Jussi is the best.
Sieglinde84 3 years ago 2
Up there with the very best performances of this glorious aria!
paulostroff99 4 years ago 2
Second only to Gedda
spyderwalk 4 years ago
your right about Gedda.this guy was great!
citrussorbet 3 years ago
You are joking! : -)
maxhansendk 3 years ago
Very true--No one else comes close. Bjoerling's voice touches the deepest of my heart.
cicadada 4 years ago 2
One of the most beautiful melodies sung by the most sublime voice of all times. I can hear other tenors sing this one and think it very good. But every time I hear Jussi sing it, I cry. Nobody else comes even close.
skakdosmer 4 years ago 6
Seems that it was not released while he was alive but I thought in spite of all the echo in the recording he did a fine job of it.
pearlmuth3 4 years ago
Jussi, the beauty of your voice will live forever!
wollestoncraft 4 years ago 2