Arts and Humanities Commons^™

A Memory Of Jussi Björling, George Shelby Weaver

Journal of the Jussi Björling Societies of the USA & UK

After hearing Jussi Björling on 78- rpm and microgroove discs during my early years, I longed to hear him in person. The only opportunity came on April 2, 1959, in a recital at Southern University in Baton Rouge, Louisiana, that blessed my twentytwo- year-old ears and psyche. From the tenth row it was obvious that his voice soared through the entire auditorium with ease. Its brilliance was immediately captivating, the inimitable shimmer sustained from softest pianissimo to trumpeted fortissimo. It surpassed, of course, his excellently recorded RCA Victor “New Orthophonic” self.

Jussi Björling On The Opera Stage: A Statistic Survey, Harald Henrysson

Journal of the Jussi Björling Societies of the USA & UK

The statistics comprise his complete opera and operetta performances. They include two (in Stockholm and New York), where he had to be replaced during the performance. A gala performance of Die Fledermaus at the Met, where he did not sing music from the operetta, is not included.

Giorgio Tozzi Remembers Jussi Björling, Walter B. Rudolph

Journal of the Jussi Björling Societies of the USA & UK

Simply stated, Giorgio Tozzi was my idol as a teenager. I felt very isolated from opera in Cody, Wyoming, even though the Community Concert series had allowed me to hear Igor Gorin, Jon Crain and Maureen Forrester in recital. I knew names from the annual photo booklet supplied by the Community Concert Association, which my mother always received because she sold tickets.

Jussi In New Zealand, Janel E. Lundgren

Newsletter of the Jussi Björling Societies of the USA & UK

A festive celebration of the art of Jussi Björling was held on March 26th, 2021, in the beautiful Royal Akarana Yacht Club, overlooking Waitemata Harbor in Auckland, New Zealand.

Jussi Björling On The Opera Stage: A List Of Companies With Which He Sang, Harald Henrysson

Newsletter of the Jussi Björling Societies of the USA & UK

Arranged according to the number of complete opera or operetta performances with each company. In the second column: number of performances.

Three numbers indicate: performances on the home stage + performances on tour = total number. In the third column: first and last year of performing with the company.

Jussi Björling’S Des Grieux In New Cd Editions, Kristian Krogholm

Newsletter of the Jussi Björling Societies of the USA & UK

One of the two operas that Björling learned and performed on stage after he left the Stockholm Opera to join the Metropolitan was Puccini’s Manon Lescaut. He seemed to have just the perfect vocal gears for this opera, encapsulating both lyric brilliance and dramatic intensity in that unique musical instrument for the role of the lovesick Des Grieux. He sang the role between 1949 and 1959 and there are four complete recordings of him as Des Grieux, including the 1954 studio take in Rome.

Remembering Kjerstin Dellert 1925 – 2018, Calle Friedner, Harald Henrysson, Bengt Krantz

Newsletter of the Jussi Björling Societies of the USA & UK

Kjerstin Dellert was born in Stockholm in 1925. Her career as a vocalist began when she won an Arthur Godfrey’s Talent Scouts contest in 1948 with “Someone To Watch Over Me”. Dellert made her opera debut at Stora Teatern in Gothenburg in the 1950s.

Leslie Barcza’S Pilgrimage To Jussi Björling Museet, Leslie Barcza

Newsletter of the Jussi Björling Societies of the USA & UK

(Editor’s introduction) Here’s a stimulating blog title from a man who writes regularly and broadly about music. He describes growing up in a home with recordings of vocal music prominently available—Jussi Björling being a particular favorite.

As the instructor of an opera course, he suggests [opera] is . . . a medium that can be understood in at least these two ways: (1) as a series of composers and periods and styles of opera, stories told in different ways, [and] (2) as a series of big name stars, beautiful voices, larger-than-life personalities, and yes: divas.

Sir Christopher Lee— ‘I Still Believe I Was Born To Be An Opera Singer’, Walter B. Rudolph

Newsletter of the Jussi Björling Societies of the USA & UK

The actor Christopher Lee, who died at the age of 93 on June 7th, 2015, may have appeared in more films than anyone of his generation. Best known for portraying villains with his 6’5” frame, he was seen in James Bond, Star Wars and Lord of the Ring films, among many, many others. Here he reflects on an opera career that might have been...

A New Opera: Silverfågeln (Silver Bird), Goran Forsling

Newsletter of the Jussi Björling Societies of the USA & UK

In the summer of 2015 a new opera about Swedish tenor Jussi Björling was premiered. It is based on journalist Yrsa Stenius’s book Tills vingen brister (2002), available in English translation as The Heart of Jussi Björling. The libretto is by Greta Sundberg. The music is composed by Mats Larsson Gothe, who recently had a great success at Norrlandsoperan in Umeå with Blanche och Marie about Nobel Prize Winner Marie Curie and her assistant and friend, Blanche Wittman.

Norman Treigle Remembers His Faust Appearance With Jussi On April 1st 1960, Jussi's Final Operatic Performance In The Us., Tom Hines

Newsletter of the Jussi Björling Societies of the USA & UK

From the biography, Strange Child of Chaos: Norman Treigle, by Brian Morgan, JBS-USA member Greg Fitzmaurice has excerpted for our readers two quotes about the final collaboration between Jussi and the great bass-baritone whose career was tragically cut short by his death at 47 years of age.

3. Jbs Members Join L.A. Opera Patrons For A Mini-Conference On February 3., Dan Shea

Newsletter of the Jussi Björling Societies of the USA & UK

Our previous Newsletter #8 (December 2004) offered our members a new idea: A "mini-conference" in Los Angeles with two lectures, an opportunity to hear a starry new production of Romeo et Juliette at the LA Opera, and the pleasure of a few days of socializing together in the California southland.

Future Travel Plans By Bjorling Societies Members, 2005-2006

Newsletter of the Jussi Björling Societies of the USA & UK

We hope that if you're a member of the Scandinavian, UK, or US chapter of a Jussi Bjorling Society, you'll consider joining our programs at the Los Angeles Opera on February 3, 2005, as described on p. 2 of this Newsletter. That event involves an afternoon of discussions about opera, Jussi, and other tenors, followed by a very promising performance of Gounod's Romeo et Juliette at the opera house, with two superb new stars, Villazon and Netrebko. Further, there will be fellowship and tourism during the days before and after the opera, during the whole period February 2-4.

Jussi Inspired Marriage Proposal, Terry Zapotocky

Journal of the Jussi Björling Societies of the USA & UK

From reader Terry Zapotocky of Tucson, Arizona.... "Jussi has been my favorite opera singer since 1960 when I first heard a recording of him and fell in love simultaneously with opera and his voice. I also might not be in existence if it weren't for him, as my dad proposed marriage to my mother at a Jussi Bjorling concert!"

Part 1: That's What My Father Did And So Do I

Journal of the Jussi Björling Societies of the USA & UK

Robert Merrill, singer, Metropolitan Opera

"I consider his voice, quality-wise, one of the most beautiful I've ever heard in my life. I don't think Jussi Bjorling could utter a bad tone. I've heard him, I've sung with him when he thought he was in bad voice, but the beauty, the quality, the ease, his technique were so magnificent that anything he did on the stage sounded beautiful."

The Perfect Gift For Chocoholic Opera Lovers!

Journal of the Jussi Björling Societies of the USA & UK

Thanks to the Swedish chocolate company Marabou, it's now possible for lovers of chocolate and lovers of opera to satisfy both cravings at once! The company has released a box of chocolates (Fortuna Ouvertyr) with an enclosed classical CD that features Jussi as well as other famous artists such as Birgit Nilsson, Gosta Winberg, Elisabeth Soderstrom, Anne Sophie von Otter, and Sylvia Linderstrand. Jussi sings "Cielo e mar" (1959 Decca recording) and "Amor ti vieta" (also a 1959 Decca recording) and is pictured on the cover of the chocolate box. Truly a delicious idea! (Editor's Note: We're in the process …

He Died At The Most Golden Moment Of His Success, Gertrud Palson-Wettergren

Journal of the Jussi Björling Societies of the USA & UK

I don't really have any clear memories of Jussi's debut. The first time I took more careful notice of Forsell 's new tenor discovery was probably in 1931, when he sang Almaviva in ll Barbiere di Siviglia. I remember that he sang quite wonderfully, with a dazzling facility in the coloratura and with a voice of captivating timbre.

Jussi And "No! Pagliaccio Non Son", William C. Clayton

Journal of the Jussi Björling Societies of the USA & UK

There are so many splendid tenor arias- "La donna e mobile," "Celeste Aida," "Vesti la giubba." Can an opera lover really have one favorite aria, much less a favorite aria by a particular singer? Maybe, maybe not, but certainly most JB devotees· have one or more arias which they view as singular or striking or equal to (if not superior) to others' performances.

"Please Mr. Bjorling, May I Use Your Christian Name?'', Elisabeth Soderstrom

Journal of the Jussi Björling Societies of the USA & UK

One December day in 1959 in New York I was interviewed for the radio by an American reporter. He asked me, among other things: ''Miss Soederstroem, what do you consider to be the goal of your career?" I had made my debut at the Metropolitan Opera a few months earlier, and my reply came completely spontaneously: 'Well, I reached that goal the day before yesterday. I sang Marguerite in Faust at the Metropolitan with Jussi Bjorling in the title role, and that is something which I couldn't, even in my wildest dreams, have dared to hope I would achieve."

Wonderful Memories, Ruth Broadly, Gerry Broadly

Journal of the Jussi Björling Societies of the USA & UK

Our world of opera was very limited until the day we heard the BBC Radio 3 programme, "Vintage Years," that happened to be devoted to Jussi Bjorling and presented by David Mellor.

In The Spotlight: Don Pruitt Jussi's Concert At Constitution Hall, Washington, Dc, March 3, 1957

Journal of the Jussi Björling Societies of the USA & UK

During the mid-1940's, when I was a teenager growing up in Roanoke, Virginia, I somehow or other chanced upon opera. During the afternoon radio broadcast period usually devoted to such enthralling boys' adventure serials as "Jack Armstrong," "Captain Midnight," and "The Green Hornet," a local station transmitted a condensed Aida over several days; this captured my imagination and interest. Then I found the Saturday afternoon Metropolitan Opera broadcasts, and would listen to them whenever I had the chance. I very dearly remember from this period a complete Aida, a Walkuere, and especially Peter Grimes, this last because, I think, of …

A New Bjorling Silver Medallion By Artist Marika Somogyi

Journal of the Jussi Björling Societies of the USA & UK

Consider this scenario: You've gotten to know and respect Andrew Farkas, not only for his work in opera scholarship bur also for his energetic and creative support of the Jussi Bjorling Society. He tells you of his friendship with superbly talented graphic artist, Marika Somogyi, who specializes in medals and whose work bas received wide international recognition. She has created the medallion for the annual Placido Domingo award as well as medals honoring Leonard Bernstein, Irving Berlin, Benny Goodman. And many more. Thanks to her friendship with Andrew, and her own love of opera and Jussi, she'd be willing to …

The J.B. Museum's "Jussi-Appreciation" Project For Elementary-School Students, Deborah Clemons

Journal of the Jussi Björling Societies of the USA & UK

Who says that children can't love opera and the classically trained singing voice? The first step is to let them hear it. We at the Jussi Bjorling museum in Sweden have tried just that. We recently completed a pilot project with the Ostermalm Elementary School in Borlange that introduced students to Jussi. Our project used a group of 80 students from ages 6 to 9. We designed the project to give students a broader experience than they would normally get during a standard one-hour museum visit. This project, with some modifications, could be used in any school and with any …

Jussi Bjorling In London, Harold Rosenthal

Journal of the Jussi Björling Societies of the USA & UK

We first heard Jussi Bjorling in the autumn of 1937, but we had certainly heard of him before that. His first gramophone recordings, arias from Tosca, La fanciulla del West, La boheme, Aida and Rigoletto, had already been issued, and the advance publicity had spoken of "a new Caruso", a claim which led the great English critic, Ernest Newman, to comment: "Here lies as usual a press-agent". (This is said to be the wording of a famous inscription on a gravestone somewhere in the U.S.A.)

Jussi Bjorling And The Royal Theatre, Copenhagen, H. A. Bronsted

Journal of the Jussi Björling Societies of the USA & UK

There were all too few occasions on which we at the Royal Theatre enjoyed the good fortune of being able to persuade Jussi Bjorling to sing on our stage. In return, though, these guest appearances become memorable events in our theatre's little history. During the Royal Swedish Opera's guest performances in Copenhagen in 1933 he sang the roles of Vladimir in Prince. Igor and Don Ottavio in Don Giovanni. ln 1942 he brightened the dark period of occupation as the Duke in Rigoletto and Rodolfo in La boheme, And he was with us in our joy at the liberation when, …

Two Faces Of Jussi (But One Voice), William C. Clayton

Journal of the Jussi Björling Societies of the USA & UK

I discovered Jussi Bjorling in 1953 when I was 18. Like George Jellinek, my awrareness came through a local record store, in my case supplied by an enthusiastic owner who played Bjorling's "Che gellda manina" for me. Though l had earlier embraced di Stefano and Tagliavini, I pretty quickly appreciated what all the JB fuss was about, and eventually I procured Jussi's complete versions of Cavalleria rusticana and Pagliacci, Aida. II Trovatore, and various recital albums. Despite my admiration of his voice, however, for many years I was troubled by two faces of Jussi as depicted on two LP albums: …

My Obsession With Opera And The Voice Of Jussi Bjorling, Andrew S. Pope

Journal of the Jussi Björling Societies of the USA & UK

The first time I heard the voice of Bjorling was on a Bell Telephone Hour, as a teen. I tuned in late on my old 1942 Sears Silvertone radio with the "magic eye.· Bjorling was in the middle of "Sylvia," I thought his the most beautiful tenor voice I had ever heard. That really got me excited and shortly afterwards I acquired an RCA Victor catalog. It was huge and had a good "Red Seal" section where I could read about the "'golden age" voice of Jussi Bjorling.

Listening Room: Jussi Björling—Monday, August 22, 2011, Fred Plotkin

Journal of the Jussi Björling Societies of the USA & UK

Very early on, my musician father decided that, in terms of classical singing, I should be raised on four voices: soprano Victoria de los Angeles, mezzo-soprano Marilyn Horne, tenor Jussi Björling and bass Ezio Pinza. It was not that there weren’t other great singers in opera and recital and the great interpreters of the American songbook, but Dad felt that these four would give me a foundation for loving all singing. Perhaps this group is a bit short on Wagner and Strauss, but they are great on Lieder and all kinds of art song.

Tonight, Jussi Björling……Today: A Response, Enrique Gilardoni

Journal of the Jussi Björling Societies of the USA & UK

Opera has today very little to do with what it was at the time of Jussi. Since its inception, opera was developed based on great singers who delighted audiences, and singing was all that mattered. Thanks to the invention of the gramophone it was possible to preserve and reproduce sounds, and of course, the human voice, so we can now listen to legendary singers of the past.

The Gedda Technique, Carl Lawrenz

Journal of the Jussi Björling Societies of the USA & UK

When Nicolai Gedda died on January 1st 2017, the world of Opera and Classical Music lost one of the most accomplished, and certainly most versatile tenors of the 20th Century. His linguistic, vocal, and musical skills gave him the ability to master a remarkable number of musical styles. Included in Gedda’s stage, concert, and recorded repertoire are Oratorios by Bach and Handel, Operas by Gluck, Weber, Adam, Bizet, Massenet, Gounod, Berlioz, Meyerbeer, Rossini, Bellini, Donizetti, Verdi, Puccini, Mozart, Flotow, Wagner, Tchaikovsky, Mussorgsky and Barber; Operettas by Strauss and Lehar; German, French, Russian, Swedish, and English Art Songs, and Russian Folk …