Rachmaninow / Mozart / Alfven: A tribute to David Bjorling, Vol. 2
Sterling - CDA 1826/27-2
Kompozytor Sergiej Rachmaninow (1873-1943) Wolfgang Amadeus Mozart (1756-1791) Hugo Alfven (1872-1960) Piotr Czajkowski, Giuseppe Verdi, Charles Gounod, Friedrich von Flotov, Georges Bizet, Giacomo Puccini, Giacomo Meyerbeer, Umberto Giordano, Francesco Cilia, Gioacchino Rossini, Erich Korngold, Laci Boldemann, Fernando Obradors, Vincenzo Bellini, Wilhelm Stenhammar, August Korling
Wykonawcy
Lars Bjorling, tenor Harry Ebert Brita Lignell Anouchka Mukherjee Sergei Reznikov Jan Eyron, piano
Guiseppe Verdi: Rigoletto, Act II - Ella mi fu rapita! Rigoletto, Act IV - La donna e mobile La forza del destino, Act III, Scene 1 - La vita e'inferno all'anfelice
Wolfgang Amadeus Mozart: Die Zauberflöte, Act I, K.620 - Dies Bildnis ist bezaubernd schön La Clemenza di Tito, Act II, K.621 - Se all'impero, amici Dei Cosi fan tutte, Act I, K.588 - Un'aura amorosa
Charles Gounod: Faust, Act I - Prologue Faust, Act III - Salut! demeure chaste et pure
Friedrich von Flotov: Martha, Act III - M'Appari Tutt'Amor
Geroges Bizet: Les pecheurs de perles, Act I - A cette coix quel trouble
Giacomo Puccini: Manon Lescaut, Act I - Donna non vidi mai
Giacomo Meyerbeer: L'Africaine, Act IV - Mi batte il cor … O paradiso!
Umberto Giordano: Andrea Chenier, Act I - Un di all'azzurro spazio
Francesco Cilia: L'arlesiana, Act II - E la solita storia
Gioacchino Rossini: Il barbiere di Siviglia - Se il mio nome saper
Erich Korngold: Die tote Stadt, Act III - Marietta's Lied, Op. 12
Sergei Rachmaninow: 6 Songs, Op. 4 -No. 4, Ne poy, krasavitsa, pri mne (Chanson Georgienne) 14 Songs, Op.34 - No. 4, Veter perelyotniy (The Wind whispered) 12 Songs, Op. 21: No. 6, Otrivok iz A. Myusse (Loneliness) No. 7, Zdes' khorosho (How Fair this spot) No. 4, Oni otvechali (They Answer) 6 Songs, Op.4 - No. 3, V molchan'i nochi taynoy (In the silence of the night)
Hugo Alfven: 7 Dikter, Op.28 - No. 6, Skogen sofver (The Forest sleeps) 10 Sanger, Op. 4 - No. 2, Serenad Marias sanger, Op. 21 - No. 1, Ved huset
2 Lyriska stämningar, Op. 8 - No. 2, Sommardofter Aftonen (Evenings), R.187 Saa tag mit hierte (So Take My Heart), R.203 Jag langtar efter dig (I long for you), Op. 28 - No. 5
Laci Boldemann: Mopsen Den gröna hagen Tanten och Papegojan Purjo och Rädisa
Fernando Obradors: Corazon, porque pasais Con amores, la mi madre (With Love in my heart…) Del Cabello mas sutil (Of the softest hair)
Vincenzo Bellini: Malinconia, ninfa gentile Dolente immagine di Fille mia
Wilhelm Stenhammar: Visor och stamningar, Op. 26 - No.8, Lycklandsresa 5 Visor till text av Johan Ludvig Runeberg, Op. 8 - No. 1, Lutad mot gärdet 4 Dikter av Verner von Heidenstam, Op. 37 - No. 4, Vore jag ett litet barn I skogen 4 Stockholmsdikter, Op. 38 - No. 4, En positivvisa
August Korling: Aftonstämning (Evening Mood)
When my Father Jussi was chosen as the 20th century’s leading male opera singer by English music critics at the turn of the century, we felt great joy and pride in the family. From my very early age I experienced singing and music at home, but most of all, I remember visiting the Opera house when Father sang. A strong memory was La boheme. I tried to hide my tears trickling down the cheek in the last act. Usually it was very exciting to sit in the orchestra seats and keep up with everything that happened on stage. Everyone wore make-up and strange costumes, but as soon as Father began to sing, I recognized him. It was easy. He sounded ‘different’ than the rest of the ensemble. My Father was in his early 30s and had then been singing for 25 years. Already at the age of four to five, my Father and his brothers began to learn the essentials of the art of singing under my grandfather David’s solid guidance.
I have spent a great deal of my life exploring the secrets of the Italian bel canto, conveyed by David and my Father, and I have reached the conclusion that there are no secrets; it is just the natural voice that has to be heard, free from settings and so-called tone formation. There is only one problem; it takes time. Manipulation of the voice in different ways to achieve quick results is doomed to fail. If I can contribute to pass the Björling singing tradition on to future generations of singers, I will be more than pleased. (Lars Björling) Recorded 1975-2006.