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Jussi Bjorling - Opera Arias (Historical Recordings 1936-1948) (1999)

Classic | Author: SELMER | 12-04-2018, 16:59
Jussi Bjorling - Opera Arias (Historical Recordings 1936-1948) (1999)
Artist: Jussi Bjorling
Title Of Album: Opera Arias (Historical Recordings 1936-1948)
Year Of Release: 1999
Label: Naxos
Country: Sweden
Genre: Classical
Quality: FLAC (*tracks + .cue, log)
Bitrate: Lossless
Time: 01:17:58
Full Size: 296 MB






Tracklist:

01. L'Elisir D'Amore - Una Furtiva Lagrima (1945) (04:13)
02. Questa O Quella (1944) (02:11)
03. La Donna e Mobile (1936) (02:11)
04. Ah Si, Ben Mio (1939) (03:22)
05. Di Quella Pira (1939) (01:43)
06. Se Quel Guerrier … Celeste Aida (1936) (04:27)
07. La Gioconda - Cielo E Mar! (1937) (04:16)
08. L'Africana - Mi Batte Il Cor … O Paradiso (1937) (03:14)
09. Martha - M'Appari Tutt' Amor (1939) (03:28)
10. Faust - Salut! Demeure Chaste E Pure (1939) (04:46)
11. Romeo Et Julliette - Ah! Leve-Toi, Soleil! (1945) (03:24)
12. Carmen - La Fleur Que Tu M'Avais Jetee (1938) (03:57)
13. Instant Charmant … En Fermant Les Yeux [Le Reve] (1938) (03:49)
14. Je Suis Seul! … Ah! Fuyez, Douce Image (1945) (04:37)
15. O Lola (1948) (02:37)
16. Mamma! … Quel Vino (1944) (03:57)
17. Pagliacci - Recitar! … Vesti La Giubba (1944) (03:44)
18. Fedora - Amor Ti Vieta (1944) (02:04)
19. Donna Non Vidi Mai (1948) (02:27)
20. Che Gelida Manina (1936) (04:19)
21. Recondita Armonia (1936) (02:50)
22. E Lucevan Le Stelle (1937) (02:54)
23. Nessun Dorma (1944) (03:27)

Bjorling was one of the strongest and steeliest lyric tenors of the mid-century, as famous for his Rodolfo in La Boheme as he was for his Calaf in Turandot. This superbly engineered survey of his early career takes us from 1936 through to 1948, and covers, for the most part, his standard repertoire of French and Italian music--extracts from Aida and from Faust, and from both Massenet's Manon and Puccini's Manon Lescaut. He was a singer equally at home with the elegance of bel canto and with the passionate sorrows of verismo--he is particularly fine in "Vesti la guibba" from Leoncavallo's "Pagliacci". Bjorling was always going to have to struggle to make this repertoire his own--much of his early audience had heard Caruso. What Bjorling brought to his roles was a superb theatricality and a capacity for thoughtful passion; amid the lyricism, you also always remembered that his heroes were for the most part tough guys. -- Roz Kaveney



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