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Peter Lindroos - Opera Arias and
Songs see end of review for track listing
Peter Lindroos
(tenor)
Finnish National Opera Orchestra/Kari Tikka (1-13); Finnish
Radio Symphony Orchestra/Markus Lehtinen (14-16); Marita
Viitasalo (piano)(17-18); Pertti Eerola (piano)(20, 24-26);
Gustav Djupsjöbacka (piano)(21-23); Peter Lindroos (piano)(19,
27).
rec. Roihuvuori Church, Helsinki, 23-26 September 1985 (1-13);
Assembly Hall of University of Helsinki, autumn 1994 (14-16,
27); 25 October 1988 (17-18); 2 August 1981 (20, 24-26);
23 May 1983 (21-23); 29 October 1988 (19) FUGA 9250 [79:54]
Paul
Peter Christer Lindroos was born in 1944 in a Swedish-speaking
area in Southern Finland. His soubriquet ‘The Jussi Björling
of Finland’ is not just the usual hype. There are enough
similarities in timbre and brilliance. Lindroos may not always
have quite the elegance and sophistication of Björling but
his tone is also Nordic blonde and silvery and the ringing
high C is effortless. Listen to Che gelida manina which
is truly impressive. Rodolfo was also his first major role
at the Finnish National Opera back in the 1960s. He then
came to Gothenburg and after that to Copenhagen where he
spent fifteen years and then often returned as guest. But
during his time in Copenhagen he frequently appeared all
over Europe and eventually in the Americas and Australia,
singing opposite many of the world’s greatest artists. It
is sad that he made so few solo recordings: an LP with standard
arias issued in 1986 (tracks 1-13 on this disc) and a collection
of religious works in 1982. The rest of the material on the
present disc is culled from various Finnish radio and TV
recordings and are issued for the first time. However, he
took part in a number of complete recordings. Around the
turn of the millennium he moved to Skåne in Southern Sweden
with his new family, got a job as cantor at two churches
there – returning to his roots so to speak since he assisted
his father as organist as a teenager and even after he had
debuted as opera singer. His life was cut short though in
a traffic accident in 2003 when his 1½ year old son was also
killed.
The
opera recital from 1985 – where actually the orchestral accompaniment
was recorded separately beforehand – gives us a singer at
his mature prime: the voice full and powerful but produced
with ease and both Italianate roundness of tone and metallic
bite at the top. The two excerpts from Manon Lescaut are
splendid as an introduction to his art of singing: generous,
vital and involved. I have already mentioned the high C in
the Bohème aria but this is only the climax of a very
satisfying reading. The two Tosca arias remind me
of an exciting performance of the opera in Stockholm as recently
as 1997, where he matched even a Placido Domingo in passion
and intensity. He certainly managed to preserve his voice
well, in spite of singing the voice-killer role of Otello
as early as 1969 in Gothenburg, when he was only 25. Nessun
dorma is gloriously sung, even though the end is rather
beefy. As a whole the recital is a fine tribute to one of
the finest Nordic opera tenors during the second half of
the 20th century and it is a special treat to
have the three arias (tr. 14-16) recorded in connection with
a TV programme about the singer about a decade later. Two
of them are also on the LP and they show very distinctively
the consistency of his approach and how well he had nurtured
his vocal resources. The readings are essentially very similar,
tempos a fraction slower and maybe the tone is marginally
darker, but the brilliance at the top is just as thrilling.
The Pagliacci aria, in either version, clearly demonstrates
what an intense singer he could be and it was a pity that
he didn’t sing the role more often: in Copenhagen in the
mid-1980s and in 1999 in Malmö and Stockholm. If anything
the later recording is even more filled with pain.
Being
an important opera singer doesn’t necessarily imply that
you are equally at home in the more elusive field of songs,
but Lindroos gives ample proof here that he also was a splendid
recitalist. That an Italianate tenor sounds well in Neapolitan
and Italian songs goes without saying and especially Mattinata is
sung with a glow even Björling and Pavarotti would have envied.
In Torna a Surriento he accompanies himself on the
piano, which he often did in recitals when he reached the
encores – and the final encore was always Hugo Alfvén’s Jag
längtar dig to a text by Ernest Thiel, legendary banker
and art collector, whose large collection of Scandinavian
paintings from around the turn of the last century today
can be seen at Thielska Galleriet in Djurgården. Among the
other songs, Järnefelt’s Fågeln (The Bird)should
be mentioned as a seldom heard but masterly composition.
Armas Järnefelt was a Finnish composer and conductor, for
25 years in the beginning of the 20th century
principal conductor at the Royal Stockholm Opera. Peterson-Berger’s
songs were also part of Jussi Björling’s repertoire and it
seems that Lindroos has modelled his readings after Björling,
which is a pity in the case of Bland skogens höga furustammar – a
song I have always found too slow in Björling’s recordings.
Anyone who can find Nicolai Gedda’s Bluebell recordings of
P-B – I only have them on LP – must agree that there is more
of fresh Nordic forests about his swifter and more springy
reading. Lindroos sings both songs with silvery tone as he
does in another song, also in Björling’s repertoire, August
Söderman’s ballad Trollsjön, which is superbly sung
here.
The
fame of singers very often rests on their recordings and
it is a shame that Peter Lindroos, who undoubtedly was one
of the finest singers to emerge from the Nordic countries,
hasn’t been better served in that respect, so it is all the
more to be applauded Fuga’s decision to make available this
material. The sound varies slightly but it is always clean
and well defined and, being studio recordings, there are
no distracting noises, as can often be the case with live
recordings. There are hopefully a number of readers who have
heard Peter Lindroos in the flesh and this is a golden opportunity
to have his voice and musicianship immortalized on CD. It
should also be mentioned that in Denmark a double CD was
issued in 2004 with live recordings featuring Peter Lindroos
from the Royal Danish Opera, In Memory of Peter Lindroos (CLASSCD5004-5).
Göran
Forsling Track listing Giacomo PUCCINI (1858–1924)
Manon Lescaut:
1. Donna non vidi mai [2:20]
2. Ah! Non v’avvicinate–No! No! Pazzo son! [2:11]
La Bohème:
3. Che gelida manina [3:57]
Tosca:
4. Recondita armonia [2:47] 5. E lucevan le stelle [3:54] Turandot:
6. Nesssun dorma [2:42] Francesco CILEA (1866–1950)
Adriana Lecouvreur:
7. La dolcissima effigie [1:46]
8. L’anima ho stanca [1:51] Ruggero LEONCAVALLO (1858–1919)
I Pagliacci:
9. Recitar–Vesti la giubba [3:33] Umberto GIORDANO (1867–1948)
Andrea Chenier:
10. Come un bel di di maggio [2:54] Georges BIZET (1838–1875)
Carmen:
11. La fleur que tu m’avais jetée [3:31] Giuseppe VERDI (1813–1901)
La Traviata: 12. Lunge da lei–De’ miei bollenti spiriti [3:17]
Luisa Miller:
13. Oh! Fede negar potessi–Quando le sere al placido [4:27]
Macbeth:
14. O figli, o figli miei!–Ah, la paterna mano [3:32] Giacomo PUCCINI
Manon Lescaut:
15. Donna non vidi mai [2:30] Ruggero LEONCAVALLO
I Pagliacci:
16. Recitar–Vesti la giubba [3:56] Ruggero LEONCAVALLO
17. Mattinata [2:03] Cesare Andrea BIXIO (1898–1978)
18. Parlami d’amore Mariù [4:15] Ernesto De CURTIS (1875–1937)
19. Torna s Surriento [2:55] Jean SIBELIUS (1865–1957)
20. Säv, säv, susa, Op. 36, No. 4 [2:16] Erkki MELARTIN (1875–1937)
21. Rosa rorans bonitatem, Op. 32, No. 1 [3:00] Armas JÄRNEFELT (1869–1958)
22. Fågeln [3:09]
23. Du [1:50] Wilhelm PETERSON-BERGER (1867–1942)
24. Jungfrun under lind, Op. 10, No. 1 [2:26]
25. Bland skogens höga furustammar, Op. 5, No. 4 [2:06] August SÖDERMAN (1832–1876)
26. Trollsjön [4:32] Hugo ALFVÉN (1872–1960)
27. Jag längtar dig, Op. 28, No. 5 [1:08]
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