Jussi Björling (5 February 1911 – 9 September 1960) was a Swedish tenor and… Read Full Bio ↴Jussi Björling (5 February 1911 – 9 September 1960) was a Swedish tenor and one of most highly regarded opera singers of the 20th century. Björling was one of the few non-Latin tenors to rival the Italian dominance of the opera world at that time.
Björling was born in Borlänge. He studied singing with his father, David, an accomplished vocalist, and made his debut public appearance at the age of four with the Björling Male Quartet. The group performed in concerts throughout Sweden and the United States for eleven and a half years.
Björling made his professional operatic debut as the Lamplighter in Manon Lescaut at the Royal Swedish Opera in Stockholm in 1930. This was soon followed by Don Ottavio in Mozart's Don Giovanni, Arnoldo in Rossini's William Tell and Almaviva in Rossini's The Barber of Seville. This in turn led to engagements in Europe and the USA. Björling made his American concert debut in Carnegie Hall in 1937; the following year, he made his debut at the Metropolitan Opera as Rodolfo in La bohème.
In December 1940 Arturo Toscanini invited Björling to sing the tenor part in Beethoven's Missa solemnis in New York, a recording of which exists. Björling also performed the Verdi Requiem under Toscanini in 1939 in Lucerne, Switzerland, and in November 1940 in New York, another performance that was recorded and eventually issued as an LP.
In 1945 Björling returned to the US and appeared frequently at the Metropolitan Opera. He sang many major tenor roles in operas in the French and Italian repertoire, including Il trovatore, Rigoletto, Aida, Un ballo in maschera, Cavalleria rusticana, Faust, Roméo et Juliette, La bohème, Madama Butterfly, Tosca and Manon Lescaut. He appeared as Don Carlo in the opening of the 1950–1951 season, but the relationship with Rudolf Bing was strained, and as a consequence he was absent for a couple of seasons in the mid 1950s. Meanwhile, Björling appeared with other American opera companies such as Lyric Opera of Chicago and San Francisco Opera.
Björling appeared at La Scala in 1946 in Rigoletto and 1951 in Un ballo in maschera. His planned Paris début in 1953 was cancelled however, and except for recitals in United Kingdom, some performances in Yugoslavia, East Germany and South Africa in 1954, Björling rarely appeared outside Scandinavia and United States.
On 15 March 1960 Björling suffered a heart attack before a performance of La Bohème at Covent Garden. He insisted on singing in spite of his condition.[6] Björling then made a short American tour, making his last operatic performance as Faust in San Francisco on 1 April 1960 and his final recital at Skansen, Stockholm, on 20 August 1960 (thirty years to the day after his official debut in 1930). He died of cardiomegaly (an enlarged heart) on the island of Siarö [sv], Sweden, on 9 September 1960, aged 49
Björling was born in Borlänge. He studied singing with his father, David, an accomplished vocalist, and made his debut public appearance at the age of four with the Björling Male Quartet. The group performed in concerts throughout Sweden and the United States for eleven and a half years.
Björling made his professional operatic debut as the Lamplighter in Manon Lescaut at the Royal Swedish Opera in Stockholm in 1930. This was soon followed by Don Ottavio in Mozart's Don Giovanni, Arnoldo in Rossini's William Tell and Almaviva in Rossini's The Barber of Seville. This in turn led to engagements in Europe and the USA. Björling made his American concert debut in Carnegie Hall in 1937; the following year, he made his debut at the Metropolitan Opera as Rodolfo in La bohème.
In December 1940 Arturo Toscanini invited Björling to sing the tenor part in Beethoven's Missa solemnis in New York, a recording of which exists. Björling also performed the Verdi Requiem under Toscanini in 1939 in Lucerne, Switzerland, and in November 1940 in New York, another performance that was recorded and eventually issued as an LP.
In 1945 Björling returned to the US and appeared frequently at the Metropolitan Opera. He sang many major tenor roles in operas in the French and Italian repertoire, including Il trovatore, Rigoletto, Aida, Un ballo in maschera, Cavalleria rusticana, Faust, Roméo et Juliette, La bohème, Madama Butterfly, Tosca and Manon Lescaut. He appeared as Don Carlo in the opening of the 1950–1951 season, but the relationship with Rudolf Bing was strained, and as a consequence he was absent for a couple of seasons in the mid 1950s. Meanwhile, Björling appeared with other American opera companies such as Lyric Opera of Chicago and San Francisco Opera.
Björling appeared at La Scala in 1946 in Rigoletto and 1951 in Un ballo in maschera. His planned Paris début in 1953 was cancelled however, and except for recitals in United Kingdom, some performances in Yugoslavia, East Germany and South Africa in 1954, Björling rarely appeared outside Scandinavia and United States.
On 15 March 1960 Björling suffered a heart attack before a performance of La Bohème at Covent Garden. He insisted on singing in spite of his condition.[6] Björling then made a short American tour, making his last operatic performance as Faust in San Francisco on 1 April 1960 and his final recital at Skansen, Stockholm, on 20 August 1960 (thirty years to the day after his official debut in 1930). He died of cardiomegaly (an enlarged heart) on the island of Siarö [sv], Sweden, on 9 September 1960, aged 49
L'arlesiana: È la solita storia del pastore
Jussi Björling Lyrics
We have lyrics for these tracks by Jussi Björling:
Ack Värmeland Ack, Värmland, du sköna, du härliga land, du krona bland Sve…
Act I: Au fond du temple saint Au fond du temple saint Parée de fleurs et d'or Une femme…
Act III: E lucevan le stelle Jag minns stjärnorna lyste Blommor doftade härligt Och grind…
Ah sì ben mio Ah sì, ben mio, coll'essere io tuo Tu mia consorte Avrò più…
Allt Under Himmelens Fäste Allt under himmelens fäste Där sitter stjärnor små Allt unde…
Au fond du temple saint Au fond du temple saint Parée de fleurs et d'or Une femme…
Bland skogens höga furustammar Bland skogens höga furustammar Där ha vi byggt vår egen kamm…
Der Bettelstudent: Nu är jag pank och fågelfri Nu är jag pank och fågelfri, men tänker dock ej klaga. Du…
E Lucevan le Stelle Jag minns stjärnorna lyste Blommor doftade härligt Och grind…
Il Mio Tesoro Ah sì, ben mio, coll'essere io tuo Tu mia consorte Avrò più…
La Bohème Henri Meilhac Philippe Gille…
LA Fanciulla del West "Ch'ella Mi Creda Libero" Ch'ella mi creda libero e lontano Sopra una nuova via di…
Land Du Välsignade Land du välsignade tag min sång Gjut din ande i orden Giv…
Nämmer du Sverige Nämner du Sverige säg känner du ej då en doft utav gran…
Nessun Dorma Così comanda Turandot Questa notte nessun dorma in Pekino! N…
No. 4. Bland skogens hoga furustammar Bland skogens höga furustammar Där ha vi byggt vår egen kamm…
Nu är jag pank och fågelfri Nu är jag pank och fågelfri, Men tänker dock ej klaga. Du…
O Helga Natt O helga natt, o helga stund för världen Då Gudamänskan till…
O Helga Natt (O Holy Night) O helga natt, o helga stund för världen, Då Gudamänskan till…
Pärlfiskarna: Au fond du temple saint Au fond du temple saint Parée de fleurs et d'or Une femme…
Puccini's Tosca: E Lucevan Le Stelle Jag minns stjärnorna lyste Blommor doftade härligt Och grind…
Säv säv susa Säv säv susa Våg våg slå I sägen mig var ingalill Den unga…
Sverige Sverige, Sverige Sverige, fosterland Vår längtans bygd, Vårt…
Till havs Nu blåser havets friska vind ifrån sydväst Och smeker ljuvli…
Tonerna Tanke, vars strider blott natten ser. Toner, hos Eder om vi…
Tosca Jag minns stjärnorna lyste Blommor doftade härligt Och grind…
Traditional: Ack Värmeland Du Sköna Ack Värmeland Du sköna Du härliga land Du krona bland Svea r…
Turandot, Act III: Nessun dorma! Nessun dorma! Nessun dorma! Tu pure, o, Principessa, Nella t…
Turandot: Nessun dorma Così comanda Turandot Questa notte nessun dorma in Pekino! N…
Verdi's Il Trovatore: Ah Si Ben Mio Ah sì, ben mio, coll'essere io tuo Tu mia consorte Avrò più…
Wilhelm Peterson-Berger: Bland skogens hoga furustammar Bland skogens höga furustammar Där ha vi byggt vår egen kamm…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Yari BerrioBasualdo
E' la solita storia del pastore...
Il povero ragazzo volvea raccontarla,
e s'addormi.
C'è nel sonno l'oblio,
Come l'invidio!
Anch'io vorrei dormir così
nel sonno almeno l'oblio trovar!
La pace sol cercando io vò:
vorrei poter tutto scordar.
Ma ogni sforzo è vanno..
Davanti ho sempre di lei
il dolce sembiante!
La pace tolta è sempre a me...
Perché degg'io tanto penar?
Lei!... sempre mi parla al cor!
Fatale vision, mi lascia!
mi fai tanto male! Ahimè!
Peter Holwill
Leaves me in tears, quality of his voice superb throughout his entire range, no weakness at all, wonder whether we shall see his like again. A TENOR FOR ALL GENERATIONS.
58kailash
When Jussi passed away in 1960 I was on a date and upon hearing of his death I wept. My date had no comprehension as to why - our relationship fell apart thereafter. Jussi still brings tears to my eyes and shivers to my body when I listen to this song. Jussi is, indeed, the finest tenor I have heard to date.
georgewu5
I was in the line waiting to get in to the standing room in the old Met when they announced that the opera would be cancelled. It was a little before 1960. George Wu, ARCHITECT, A.I.A., NCARB 2019-4-6
RONALD GOFF
bad period of time my father was opera singer lanza warren all died 59 60 i was 12 my life never same i sing opera but never went pro too much stress
道
most sensitive, most powerful and beautifully handsome voice throughout...
John Titone
and the Yankees lost the WS in the bottom of the 9th in game 7!!
Martial Mertz
Non le plus grand ténor de tout les temps c est caruso c est indiscutable mais il faut vraiment bien connaitre la voix et les techniques sinon c est impossible à déceler moi j en suis capable mais bjorling je l adore pour moi c est le deuxième ténor et la plus belle voix qui jamais existé avec la couleur de Pavarotti aussi
Harril Mullany
Jussi Björling’s singing here is on a level way beyond the ability of mere mortals. Many fine performers with beautiful tones have sung this aria well, but he allows his voice to pour out from his heart which very few artists are willing to do. When the great singers like him (Chaliapin, Muzio, Gigli, Callas, etc) deliver in this way not only is the feeling palpable but every musical moment of the aria makes perfect sense.
Joe Johnson
Bjorlings voice was once described as the voice of a thousand unshed tears and in this aria that is what we are privileged to hear. The natural pathos in his voice gives the aria its true meaning and his added high Bb, which is not written in the score and in many cases has destroyed the aria when performed by lesser singers, is a true declaration of anguish. This is a masterpiece.
2mising
@Rational Sceptic Thanks for the link.