JUSSI BJOERLING RARITIES"
Music from Puccini's Tosca, Meyerbeer's L'Africana, Verdi's La forza del
destino
and Gounod's Faust (with Grace Moore, soprano; Donald Dickson, baritone
and the General Motors Symphony Orch/Erno Rapee, recorded December 5,
1937). Music from Gounod's Faust and St. Cecilia Mass, Massenet's
Manon,
and Richard Strauss's Cäcilie (with Ford Motor Symphony Chorus/Orch/José
Iturbi, rec. November 13, 1938). Bizet: "Flower Song" from
Carmen (with
Hilversum Orch/Frieder Weissman, rec. June 8, 1939). Rossini: La
Danza; Denza: Funicul“, Funiculˆ; Bartlett:
A Dream (with Ford
Motor Symphony Orch/Eugene Ormandy, rec. December 8, 1940). Puccini:
"Nessun dorma" from Turandot (with Stockholm Radio Orch/Sixten
Ehrling, rec. June
1943). GRUBER: Silent Night (with Anna-Lisa Bjoerling, soprano/NBC
StudioOrch/no cond. listed, rec. Nov. 22, 1945). "Miserere" from
Verdi's Il trovatore (with Eleanor Steber, soprano/Voice of Firestone Orch/Howard Barlow,
rec. January 21. 1946). GOUNOD: O Divine Redeemer (with Voice of Firestone
Orch/Howard Barlow, rec. April 15, 1946). MORGAN: Clorinda.
LEONCAVALLO: Mattinata (with Bell Telephone Hour Orch/Donald
Vorhees, rec.
Mar. 15, 1948). GLOVER: The Rose of Tralee; VERDI:
"Celeste Aida" from Aida (Bell Telephone Hour Orch/Donald
Vorhees, rec. March 12,
1951). ALFVƒN: At last our people stand united (Band of the Royal Svea
Life Guards/Ille Gustafsson, rec. Swedish Flag Day in Stockholm June 6, 1953).
VAI AUDIO VAIA 1189 (F) (ADD)
GIUSEPPE DI STEFANO with BIDU SAYAO, RENATA TEBALDI and
LILY PONS, NBC Standard Hour broadcasts of October 1950
ROSSINI: "Selva opaca, deserta bruchiera" from William
Tell (Sayao); GOUNOD: "Salut! demeure chaste et pure" from Faust;
MOZART: "Non so piœ dove son" from The Marriage of
Figaro (Sayao); FLOTOW: "M'appari" from Marta;
PUCCINI: "Che gelida manina," S“ mi chiamano Mim“"
and "O soave fanciulla" from La Bohème (with Tebaldi);
BOITO: "L'altra notte in fondo al mare" from Mefistofele;
MASSENET: "Ah! tout est bien..fini" from Le Cid;
GIORDANO: "La mamma morta" from Andrea Chénier (TEBALDI);
VERDI: "Parmi veder le lagrime" from Rigoletto;
PUCCINI: "Viene la sera" from Madama Butterfly (with
TEBALDI); PONCHIELLI: "Cielo e mar" from La Gioconda;
PUCCINI: "E lucevan le stelle" from Tosca;
DONIZETTI: "Sulla tomba che rinserra" from Lucia di
Lammermoor (LILY PONS); San Francisco Opera Association Orch. cond. by
Gaetano Merola
URANIA URN 22.161 (2 CDs) (F) (ADD) TT: 71:39 & 60:24
Both of these are valuable
issues for admirers of Jussi Bjoerling
and Giuseppe di Stefano, two of the finest
tenors of the past century. Both are heard here in their
absolute primeand the singing is glorious. The Bjoerling
CD contains four works never issued before, recorded during a Nov. 13,
1938 broadcast
conducted by José Iturbi. Other highlights include the final trio from
Faust recorded the previous year with soprano Grace Moore and Donald
Dickson, and three selections from a broadcast Dec. 8, 1940 conducted by
Eugene Ormandy who had just two years earlier been appointed music
director of the Philadelphia Orchestra. Sound is typical broadcast
quality, although it does seem
as
if a tad too much noise-reduction was used; still the distinctive
Bjoerling sound is clearly heard.
Di Stefano made his La Scala
debut in 1947, his Met debut in 1948. Just a few years later
his voice showed signs of decline brought on by an indulgent life-style
and ill-chosen dramatic roles that
taxed his resources. However what is heard on these recordings is
from his "golden period," three Standard Hour broadcasts from
October 1950 in which he is joined in duets by Bidu Sayão (La
Bohème),
Renata Tebaldi (Madama Butterfly), and Lily Pons (Lucia di
Lammermoor).
The three sopranos sing arias as listed above, and accompaniments are
provided by the San Francisco Opera Orchestra conducted by Gaetano Merola.
All of the singing could not fit onto a single CD so producers have filled
out the set with orchestral music from the broadcasts, hardly distinctive
additions but at least purchasers will hear more of the original
concerts. Transfers are quite good, and this is another opportunity
to di Stefano's most famous interpretation of the aria from Faust.
Rudolf Bing said di Stefano's reduction of the high C at the end
of this aria, from a forte to a mere whisper was the single most
beautiful moment he experienced in the opera house. If you don't
already own this essential performance, here's another opportunity to do
so.
R.E.B. (Dec/ 2000) |