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RIGOLf,TTO l,adonnai nrobil' 2.il 2. Pl (XI\l
TOSCA Mario.Nario.\lariol 13.t.1
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TIIRANDOT Sigrorr.as(oltal:l\on piangrrr.Lii 7..13
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MARTHA Nlapparitutt amor f,.42 e. v[RDl
OTELLO 0hl nronstruosa
colpaltSi.pelcielnrannontgiuro! 4.26
12. DO\IZETTI
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I:J. T(]IIAIKOVSKI l Drcrnl 2.21
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A B E R T E L S M A N N M U S I C G R O U P C O M P ARNCYA i s a r e g i s t e r e d l r a d e m a r k o l G e n e r a l E l e c t r i c C o m p a n y , U S A - M a d e i n t h e E C .
 CDONE |2 DONZETII L'ELISIR DAMORE Una furtiva lagrima I 4"ffi

I. VERDI AIDA: Seguel guerriero io fossi; CelesteAida t 4.et EUGENEONEGINF6Tbi, fiirbi (lensky's Arid I
13. TCHAIKOVSKY 6.M
(RecordedJuly 1955) (RecordedJan:uurry
D+ L9Fr7)

I 2. PUCCINI MANONLESCAUTDonna non vidi mai t 2AO 14. PUCCINI TLIRAIIIIX)T Nessundorma a SBti
GecordedJuly 1954) (RecordedJuly 1959)

3. \'ERDI RIG0LETIOI,a donna i mobile I 2Jl , 15. PUCCINI IIOSCA Reconditaarmonia a 3.OO
with FernandoCorena,boss
4, VERDI RIGOLETDHIa mi fu rapita;Parmi vederle lagrime t 5.28
(RecordedJune 1956) 16. PUCCINI TOSCAE lucevanlestelle4 gM

5. MASCAGNI CAVALLERIA RUSIICANA Siciliana:O l,ola 2 8.28 17. PUCCINI TOSCAO dolci mani a 1.4I)
(RecordedJanuary2, 1953) (RecordedJuly 1957)

6. GOUNOD FAUSTSalut, demeurechasteet pure z 41*at 18. SCHTIBERT The Trout (Die Forelle) D. 5505
(Live recordingIVIarch2,1958) 2.0r
PAGLIACCI Vestila giubba z
7. I.EONCAVALI,O 854
(RecordedMarch 9,l95l) 19. SCHUBERI An Silvia:Wasis Silvia? D. B9l s
(Live recordingMarch 2, 1958) 4,16
B. PUCCINI LA BOHTME Chegelida manina z 5.08
(RecordedJanuary13,l95l) 20. SCHTIBERT SfiindchenD.957/45
(LiverecondingMarch2,l95S
GrnegieHaI, NewYork) iLlt4
9. BORODIN PRINCE IGOR \4adimir's Recitativeand Cavatina3 +M
T0[ALTIME:,7B.M
IO. GIORDANO AIIDREA Cffi{IER C,omeun bel di di maggio3 8.t4
(D OllE Public Domain except:
5. AscherbergHopwood & Crew Music Ltd. 10.MCPS 14.G Ricordi * co Odd Ltd.
11. FL0T10V/ MARTIIA M'appari tutt'amor r *p
CDTWO IO. GRIEG ADream
(Sungin Norwegian- Live recordingMarch 2, 1958)s 224
I. BIZET THEPEITRLFISIIERSAu fond du templesaint0 4.85
(RecordedNovember30, 1950) II. PUCCIN] TURANInTNessundorma s 8.27
(Live recordingMarch 2, l95B)
2, PUCCINI IOSCAMario. Mario.Mariolz 18.14
(RecordedJuly 1957) D. RICHARD SIRAUSS Zueignung, Op.10,No. VDedica s 2.W
(Live recondingMarch 2, l95B)
3. VERDI DON CARIO Io l'ho perduta!; Dio, che nell'alma infondere6* I
(Recorded
January3,1951) l09fl TOXALTIMEz77.18
4, PUCCINI MANONLESCAUTOh, sardla pii bella!;Tu,tu, amore?Tu?s CD TWO PublicDomain except:
GecordedJuly 1954) 7.61 B, ll G Ricordi & Co 0dd Ltd. 12MCPS/Univenal Editions/Alfred A Kalmus Ltd.

5. PUCCINI LA BOHTME lnun coupe?O l\ilimi, tu piri non torni o 4.fO JUSSIBJORLNG
(RecordedNovember30, 1957) with
l. RomeOperaOrcheshaJonel Perlea
6. VERDI LAFOniiZADELDESIINOSolenneinquestbra6 4.lO 2. RCAOrchesnaRenataCellini
(RecordedNovember30, 1957) 3. Nils Grevillius
4. RomeOperaOrchestraErich Leinsdorf
7. \|ERDI AIDALa fatal pieha; O terra addio 7** ff55 5. FrederickSchauwecker plano
(Reconded
July 1955) 6. RobertMerrill; *and Emil Markow;RCAVictor SymphonyOrchesha,/
I RenatoCellini
B. PUCCINI TURANDO[Signore,ascolta!; Nonpiangere,Liie 7.43 7. Zinka Milanov; RomeOperaOrchestra/ErichLeinsdorf;**Jonel Perlea
(RecordedJuly 1959) \ B. Licia Albanese;RomeOperaOrchesna,/JonelPerlea
9. RenatoGbaldi, Giorgio Tozzi,Mario Sereni,Piero de Palma,TommasoFrascati;
9, VERDI OTELLIO Oh! monshuosacolpa!; Si, pel ciel marmoneoguro! 6 RomeOperaOrcheshaand Chorus/Erich Leinsdorf
(RecordedNovember30, 1950) 426
Compile a list ofthe world's greatestopem singers,and tenom will usually fare particularly well. And no
November24th 1938- again as Rodolloin La Bohime - md continued with appeamncmas Manrico in I/
wonder.Past-masters such asEmico Gruso, Benimino Gigli, lauritz Melchior, Tito Schipaand John
??orutop,FausLthe Duke in Riohtto and Riccardo in Un balla in whem Bj6rling's associationwith the
McCormack,all sng their hearts out with a vigoua eloquenceand individuality that nowadaysconjure up
[[et lasteduntil 1957when a row over salary forged m irrevereiblerift betweensinger and managemenL
imagesof mme longJost'Colden Age'. Eachprojectedan emotional immediacy that made everysongor aria *The World
A u*fuI thumb-nail sketchof Jusi Bjtirling is ofiered by K. B. Sandved,Editor of of Music"
seemlike a pemonalmessage,a gift fashionedjust for the sakeof whmver happenedto be listening at the (Sandved,1954):"On meeting Bjtirling for the first tirne it is not difficult to gues that he is an opem singer,for
time.Jiissi(JonathanJohm) Bj6rling held an honouredplaceamongthis vocalelite:his is the sortofvoice he hasthe traditionalsature and build. He is 5'8" tall, stoul with a deepbmel chest, which probably
that, once heard, assumesa pernanent placein one's musical memory.However,Bj6rling in particular accountsfor tle unusualvolume of his voice.He alm hasa reputationfor behavingin the traditional
possessed a very specialquality, a warm, homely heroism, the mrt that rcmmtic noveli$s can only dream of ... tempemmentalmannerbeforea performance,but is normallveven-tempered and affable.'In his book "My
which is perhapswhy eventoday,Bj6rling's voice continues to appealfr beyondthe cloisteredrealmsofvocal
Throat is my Portmanteau",Bjiirling clearly thought of him*lf asa l1'ric tenor, and although he dremed of
aficionados.And it's all-tm-emy to forget that although Luciano Pavarottiwasresponsiblefor launching 'Si,
adding the role of Otello to his repertory (a magnificent hint of its potential - the duet pel ciel marmoreo
"Nessundorma'into the modem pop charts,it wasJusi Bjbrling who - many yeareprior to the 1992World
giuro!'- is includedin the present*lection), fatetragicallyinteruened.
Cup - made Puccini's great iria a long-standing,oft-requested'hit'. In fact,eventoday,it's still hard to imagine
Nowadays,with digital technology on hand to libemte the full mund potential ofarchival recondings,we are at
CalaFsimrninent conquestbeing more powerfully conveyed.
last able to gmnt Bjiirling's hmdmme recorded legacya new leaseof life - including his RCA material (some
JussiBjiirling wasbom in Stom Tuna, Swedenon Sth February l9ll into a family ofsingers. His father,David, of it in stereoand featuring a small number of completeopenrs),his pre-warrecordingsfor EMI and various
wasa relatively well-known tenor who emigmted to Amerim at the tum of the century and who, on his
broadmstsfrom around the world, all of which attestto manifestvoml genius.Bj6rling wm an exhemely
return to Sweden,wm pre*nted with a scholarshipby King Oscar.He alm founded the Bj6rling Male
consistentartist whom bright, trumpeting tone, finished artistlv and clear enunciation ensured his audiencm
Quartel a group that toured Arnerim and Swedenduring the early 1920s(they also madea handful of a minimum high pleasureguota, and 'Tusi Bjiirling: The Ultimate Collection'displars thesequalities in
records)md whosepersomel comprisedDavid and his three som - Olle, Jusi and G6sta.David Bjiirling died
exceptionallygood sound quality. The selectionsinclude clasic aria recordingsfrom the early 1950s,duets
in 1926and the boyscontinued alone, while Jussijoined the Stockholm Conservatoryin 1928, appeared
with Robert Merrill, Zinka Milanov and Licia Albanese,and excerptsfrom Bjiirling's completerecordirgs of
fleetingly with the RoyalSwedishOpera (m the lamp-lighter in Puccini's Matnn l,escnut),then made his Verdi's,4rda"Puccini's ?bra and Tiunmtot.T\e July l9M version of Maron Iscnrl's "Donna non vidi mai" is
recognizedd6but there in August 1930when he sangthe part of Don Ottavio (Doz Giorunni). Guest surelymong the mostbeautifulof Bj6rling'srecords,while the "Nesun dorma'of July 1959(again
appemces in Prague,Vienna, Dreden md Copenhagenand a triumphant succcssasRodolfo in 1z
excelptedfrom the completerecording) is of courceextraondinarilyfine. But for something rml/y specialtry
BoMme at the Cit6 Univenit6 in Parislead to Bj6rling's engagementby Tomini for the tenor role in Vendi's
the live recording from a ym erlier, where eventhe silent-movie-stylepimo accompanimentrmot dehact
Ragzrbn Sulsequent triumphs included a hmous perfomance of Beethoven'sMisa So/emnisunder the
Fom a performancethat would surely havedominated any stageproduction. No wonder tlatthe New Yo*
Maestro'sbaton, while mmy still recall Bj6rling's hugely successfulpre-mr appemnces at London's Covent
Tim mote, in reactionto this particular March 1958concert "one wondemiI we will not be telling our
Grden.
grand-children one day that we heandJussiBjiirling when he stoodat the height of his career.'
It wasafter Bj6rling's first New York Gncert 0anuary 4th 1938),that Pitts Smbom wote: ,The young singer
achieveda sumes seldom paralleled in our rooms ofmusic, Mr. Biiirling's voice not only has substance,
Robert Cowan
mnority and compassto recommend i!" he continued *but it is the absolutelyunspoiled voice of a young
man." And it ms precimly that quality of youtbful virility that Bj6rling retained intact, thrilling audiences
right up until the time of his untimely death on November9th, 1960.He was,in his time, the youngestartist
ever to receivea conhact for leading parts at the New York Metropolitan Opera,where he made his d6but on