BOOK REVIEW
Jussi
by Anna-Lisa Björling & Andrew Farkas
Amadeus Press, 1996; ISBN 1-57467-010-7; Hardback; 456 pages. $39:95
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Critic Alan Blyth, has written that Jussi Björling was "the greatest
tenor of the century." In a Classic CD survey, not too long ago, readers
voted Jussi Björling their favourite tenor. As one critic so adroitly
wrote in 1938, "Mr Björling's voice… has substance, sonority and
compass…his breath support is truly magnificent, and he can command
a flawless legato of prodigiously long sweep and spin a tone from an imposing
fortissimo to a vanishing pianissimo. He possesses an extraordinarily even
scale, his attack is remarkably pure, his mezza voce exquisite. Unlike most
tenors, he is unembarrassed in the discreet use of the lower part of his
extensive range." It was said that Jussi's intonation was so true to pitch
that some conductors in Stockholm remarked that an orchestra could tune by
his voice.
This book published, in 1996, was written by the singer's widow, Anna-Lisa
Björling and Andrew Farkas, director of libraries at the University
of North Florida, and co-author of a book on Caruso, and editor of another
on LawrenceTibbett.
The book is most fascinating when it describes Jussi's art and his interaction
with his fellow artists. For instance -- 'Jussi was helped by his phenomenal
memory - he knew not only his own part but also that of his supporting
actress…He always learned the words and the music together; he regarded
them as inseparable. If he came to a difficult passage…he drew one of
his special "heads" with a red or blue pencil. A round circle marked where
he should enter. A sad face in red, with eyes, nose and frowning mouth, indicated
that just there he should sing with pain and tears in his voice; a smiling
face meant he should sound happy ... He said, "To sing a high C is like building
a skyscraper. It needs a good foundation to build on!" Gradually Jussi reached
enormous heights; once I clearly remember, he sang a G above high C. His
coloratura technique was fantastic too - every note was well defined and
distinct, and he didn't aspirate between notes. The diabolical thing was
that he made it all seem so easy!'
Chaliapin seems to have had a reputation for being difficult and temperamental.
Even bouts of carousing couldn't dampen his formidable talent and the book
describes a Stockhom performance of Faust in which he was such a frightening
Prince of Darkness, and let out such a blood-curdling howl, that the production's
Marguerite almost fainted. Jussi found Richard Tauber natural and self effacing,
Grace Moore beautiful and warm hearted and notorious for her steamy love
affairs. 'She didn't care the least whether they were married, nor did some
of the tenors; this appetite for men made her known in music circles as "Crazy
Moore"' -- but she deflated the braggart and womanising Ezio Pinza saying,
"He just goes zip, zip, zip and leaves you in the cold!"'
The book relates how Jussi had little time for the modernistic ideas of Peter
Brook and how he clashed with Rudolf Bing of the New York Metropolitan Opera,
and with Solti over interpreting Verdi's Ballo in maschera. Jussi Björling
was possibly the only artist to make both accoustic and electric 78 rpm
recordings and monophonic and stereophonic LPs. His earliest recording was
made when he was only nine, in New York with his father and brothers who
formed a singing ensemble. (His father David Björling, an accomplished
musician as well as a boxer and blacksmith, had been the boys' first but
brilliant teacher.) Jussi's last recording just before he died, in 1960,
was of the Verdi Requiem. The book details some of his significant recordings
including the famous Beecham recording of La bohème; and the Leinsdorf
recording of Turandot that won the very first Grammy for best classical
performance, operatic or choral, in 1960; and Jussi's recording of Butterfly
which won another Grammy in 1961.
The book, of course, covers Björling's life beginning with his boyhood
experiences singing in the Björling Quartet with his brothers (Olle,
Gösta and Kalle) and his father. It charts his rise from his early successes
with the Swedish Royal Opera through to triumphs in Copenhagen, Vienna, London
and then America and throughout the world. His marriage and home life are
covered and Anna-Lisa does not shrink from revealing the darker side of Jussi's
character, the revelation that he had fathered a bastard son and that he
was a persistent alcoholic who could become difficult and argumentative,
disappearing on his binges days at a time. Unfortunately his often-cancelled
engagements, due to genuine health difficulties, were often thought of as
due to drunkenness. His battles against ill-health are documented: sciatica,
laryngitis, bleeding stomach ulcers and heart problems. After his death,
the autopsy revealed that it was a miracle Jussi had survived as long as
he did: his enlarged heart had been ravaged by the heart attacks.
Yet the overall impression is that here was a warm-hearted family man totally
devoted to his art with a keen sense of humour and fond of the cinema of
detective novels and sports like fishing and arm wrestling - he once beat
Errol Flynn.
Ann-Lisa Björling was clearly a devoted wife (she was also a respected
opera singer in her own right and appeared with her husband many times).
However well-meaning she is, perhaps she is too close to her subject to be
entirely objective. The weakness of the book is that it tends to be too
repetitive; a more ruthless editing would have not gone amiss, the eulogies
to Jussi's immense talent, although exceedingly well deserved are too numerous
and in the end become tedious. More detail about Jussi's impressions of his
colleagues would have been welcome. There are many interesting photographs
and a bibliography and a chronological listing of Jussi Björling's opera,
operetta, and oratorio repertoire. The absence of a discography though is
a serious omission. Nevertheless, this is a valuable source of reference.
Ian Lace
