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The Greatest Operatic Tenor on Record Although many factors beyond technical ability determine who are the greatest singers, certainly it can be said that one’s favorite comes down to a matter of personal taste. The appeal of the sound of a voice and the dramatic approach of artists may move you for so many different reasons that it is not possible objectively declare one artist “the greatest”. Also among the handful of the top interpreters and voices, some such as Enrico Caruso and Mario Lanza didn’t leave us complete operatic recordings and thereby can’t be judged fairly. With all of the above considered, it is my opinion that the greatest operatic tenor in recorded history is Jussi Bjorling. Born in Sweden in 1911, he died at his summer resort outside of Stockholm on September 9, 1960 at the age of 49, having earned the title of the “Swedish Caruso.” His career started a the age of five, when he joined his brothers in the Bjorling Quintet and traveled (and recorded) in America. Listening to a voice that is fully in control and operatic when the singer is only five years old is an awe-inspiring experience. His early recordings made between the ages of sixteen and his mid-twenties, reveal a beautifully supple yet richly powerful voice infused with a masculinity and exuberance for life that are infectious. The young artist didn’t yet possess the confidence to sing the music in its original language. As a result, these recordings are all made in Swedish. I defy anyone to walk away from these early recordings doing anything but whistling and smiling. You have been reminded how important and joyful life can be. Also, in his early twenties he recorded a group of pop/jazz songs under the pseudonym of Eric Ode, some of which are surprising enjoyable to this day. If Mediterranean voices are gold and most Nordic tenors are silver, Jussi Bjorling’s voice needs to be put in its own category of pure platinum. In the same way as listening to Callas, it takes a moment to get used to the different sounds of this voice, but it is a moment quickly replaced with wonder at the quality, control and amazing vocal strength of this 5’6” giant. One also quickly observes that Jussi Bjorling is a lyric tenor of obvious high intelligence. He has thought about every word he sings, and his phrasing is unequaled in all of opera. Over time he only became better, vocally and dramatically, until his tragically early death. Jussi Bjorling is proof that a singer need not sacrifice near-perfect musicianship to sing with true passion. Like Lanza, he tended to sharp notes when the more masculine side of his nature took hold, but it is seldom that I find the results objectionable. His pianissimo is under perfect control always, and can truly helps to express Jussi’s deep sensitivity and humanity, both of which are always present in his singing. He can float a soft note for what seems eternity, and bring you to beautiful place of his own creation as he does it. Just as you become relaxed and appreciative of this gentle, introspective world, Jussi the hero and conqueror leaves you gasping for air and looking for your horse to join him in battle. His most amazing vocal attribute—the one that separates him from all the other tenors—is his phrasing. In singing, phrasing is the art of tying together words to allow for the most natural and effective communication of the meaning and the “mood” of the song. It is evident that he first approached each role with a complete overview and study of the important qualities that needed to be presented to the audience. The reward for the listener is that his interpretation of an aria not only sets a perfect mood for that section, it also is consistent with his view of the character throughout the rest of the opera. It leaves me always thinking that I have just listened to the most intelligent tenor on record. (Tenors have needed all the intellectual support for their native intelligence they could muster ever since Anna Russell reminded us that “the reason tenors sound so good is that they have resonance where most people have brains.”) Above all, the art of phrasing reveals a singer’s musicianship: his understanding of his own vocal strengths and limitations, plus his knowledge of the power and meaning of the composer’s work. Bjorling always did this brilliantly, but in his last decade of singing he learned to use his phrasing to bring out every last iota of voice and drama possible in the music. The results are that the 1950s saw a truly astonishing output of arias and duet albums, leider and complete operas that has never been surpassed by any other singer with the exception of Maria Callas. Bjorling’s lyric tenor could frequently be deepened to a helden (“heroic”) sound of astounding dramatic power. All of his complete opera recordings from that period remain among the greatest ever recorded, and several of them still are considered the definitive interpretations to this day. I am attaching a not-in-any-way complete list of many of his great complete recordings and songs. He was the mastersinger of Puccini and Verdi of his time. He also sang the great art songs of many nations as well as the more popular Neapolitan pieces on a par with the best native artists of each country. Of particular beauty are his numerous recordings of Swedish songs. Most people don’t know this music. I think it is one of the greatest collections of national patriotic and romantic songs produced by any country. Written mostly in the late 19th and early 20th century, they are at least the equal of the more famous arts songs of France and Italy, and rank second in depth only to the German leider of that period. One can almost hear the great Bjorling, heart and voice, saying “I am really at home in this music.” To get to know an artist of the quality and depth of Jussi Bjorling will open you up to the power of art. It is a world all its own, and the rewards of entering this world will broaden your understanding of the possibilities of life. To fall in love with a great artist is so far above being a “fan” of some popular singer that it can only be understood through experiencing it. For fifty years, this man has been a wonderful addition to my understanding and appreciation of living. He is a profound friend and confidant who is always there to inspire me to reach for outer limits of my capacities, and to live up to my deepest connection with humanity. Your view of the capacity of humanity and the glory of being human depends to a great degree on the company you keep. I hope this article inspires you to explore this unique artist. You will be happier and richer for the experience. The following are some of Jussi Bjorling’s greatest recordings. I have added an asterisk to those complete operatic recordings which remain, to my mind, the greatest interpretations available to date. Puccini Manon Lescaut*- with Albanese Turandot- with Nilsson and Tebaldi Tosca- with Milanov La Boheme*- with de los Angeles Madama Butterfly*_ with de los Angeles Verdi Il Trovatore – with Milanov Rigoletto*- with Peters Aida- with Milanov Requiem*- with L. Price Mascagni Cavalleria Rusticana*- with Tebaldi Ten definitive interpretations of arias by Jussi Bjorling: Gounod Faust- “Salut! Demure chaste e pure! Verdi Requiem- “Ingemisco” Donizetti L’Elisir d’Amore- Una Furtiva Lagrima Giordano L’Arlesiana “Lamento di Federico” Ponchielli La Gioconda “Cielo e Mar” Puccini Manon Lescaut “Pazo son. Guadate!” Puccini La Fanciulla del West “Ch’ella mi Crede” Mascagni Cavalleria Rusticana “O Lola” Giordano Andre Chenier “Come un Bel Di di Maggio” Wagner Lohengrin “In Fernen Land” (in Swedish) Some of His greatest Swedish Songs: Jag Lantar Dig So Tag Mit Hijarta Tonerna Land du Valsignade Svarta Rosor Til Havs Sverige Some Other Great Art Songs: O Holy Night (in Swedish) I Dream of Jeanie with the Light Brown Hair L’Alba Separa del la Luce l’Ombra In The Silent Night (Rachmaninof) Habe Dank (R. Strauss) Serenade (Schubert)
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