Forsling: About November 1959 be heard at: http://www.jussibjorlingsallskapet. About November 1959 com/uploads/file/Manadens_Jussi_novem- ber_2019_ljud/01_Mozart-_Die_Zauber- By Göran Forsling fl_ote_-_Dies_Bildnis_Ist_Bezaubernd_Sch_ on_(Sung_In_Swedish).mp3 On 1 November he sang at the Stock- holm Opera opposite among others, Hjördis Schymberg and Hugo Hasslo in Manon Les- caut. The performance was broadcast and parts of it were issued on records. This year it was issued complete in refurbished sound (Immortal Performances IPCD1110-2). Then he went to New York and the , where he was booked for eight performances during Novem- ber-December, including a couple of perfor- mances of Faust with Elisabeth Söderström as Marguerite. When he entered the stage on 16 November to sing Turiddu in Cavalle- ria rusticana it was his first appearance for more than two years. The return opened however discretely, since Turiddu is first heard in the “Siciliana,” which is squeezed in during the middle of the overture and sung behind the curtain “and so it passed without an audience reaction, but when the agitated introduction to the Santuzza–Tu- riddu duet began — and Jussi appeared With Victoria de los Angeles at Fontana di Trevi, 1959 onstage — the auditorium exploded in applause that stopped the show”. The words are Anna-Lisa’s in her and Andrew Farkas’ have already dealt with the autumn of it was awarded a Grammy for best opera book about Jussi, and she continues: “The 1959 in Jussi of the Month November recording (Warner Classics 7636342). performance went gloriously well. The 2018, ( on the Jussi Björling Sällskapet The love duet from Madama Butterfly ovation that followed was more than one Iwebsite) but when I now return there it with Victoria de los Angeles 1959 may be could ask. Partnered with such an electrify- is from a somewhat different perspective, heard at: http://www.jussibjorlingsallskapet. ing artist as , Jussi acted which may perhaps offer a further dimen- com/uploads/file/Manadens_Jussi_novem- up a storm, once again artistically thumb- sion to the artistry of Jussi. That Jussi’s plans ber_2019_ljud/12_Puccini-_Madama_But- ing his nose at critics who condemned his for that autumn were thwarted through terfly_-_Act_1-_Bimba_Dagli_Occhi_Pieni stagecraft. The two of them made the con- illness and limited to a small number of _Di_Malia.mp3 frontation between Santuzza and Turiddu appearances has been mentioned earlier, On 15 October he visited the newly throb with vibrant passion. This was one of but it’s interesting to realize that almost all opened Falkonercentret in Copenhagen for Giulietta’s great roles vocally and histri- of those appearances were recorded and, a concert together with Bertil Bokstedt. Not onically, and she brought the flesh-and- at least partially issued on records. On 20 until more than 65 years later was a recording blood verismo character fully to life. When August he gave a concert at Gröna Lund of the event unearthed — in splendid sound Turiddu made his exit on Santuzza’s curse, (issued on Bluebell ABCD 114). At the end as well — and there was quite a stir when the conductor Verchi tried to proceed but the of September he was in Rome and record- recording was issued on CD a couple of years audience lost control. Their shouting, howl- ed Madama Butterfly with Victoria de los ago (JPS Records JPS 682). ing, clapping and stomping drowned out Angeles. In spite of some heart trouble the Jussi’s performance of “Dies Bildnis ist the music, and the performance stopped in recording was carried through, but it was bezaubernd schön” from Mozart’s Die Zau- its tracks. Jussi by then totally immersed in not issued until after his death. In 1961 berflöte at Falkonercentret 15 October may the drama, sang a fiery Brindisi and closed

12 v February 2020 Journal of the Jussi Björling Society – USA, Inc. www.jussibjorlingsociety.org Published by BYU ScholarsArchive, 2020 1 Journal of the Jussi Björling Societies of the USA & UK, Vol. 28 [2020], No. 28, Art. 5 singer had to enter, leave and enter again so for the rest of that scene wondering if he the show could go on. had hurt himself. In his later years he was “Once it did go on, the singing was considered a better actor than as a young white hot. Perhaps inspired by the audience, singer, and I could see at close range why.” or the fiery Simionato, or both, Björling At the next , on 11 December, poured out his great voice with abandon Scarpia was sung by , and and emotion, and the reports that I had Don Goldberg was in the audience. He heard that he was a ‘cold’ singer couldn’t recalls: “In the second act after Cavaradossi be further from the truth. He and his great sings ‘Vittoria’ Jussi picked up a chair to Santuzza both sang as if their lives depend- throw at Scarpia. Warren, standing behind ed on it, and the audience cheered like mad the desk, literally seemed to turn white! He many times that night.” immediately motioned Sciarrone and Spo- This performance was also recorded — letta to go after him, and they grabbed Jussi, though not officially but candidly from the with the chair raised high in his hand. He prompter’s box. Some excerpts have been was still fighting as they dragged him out. Ann-Charlotte Björling is helping Jussi, doing available before (Documents 600129) but Then just before reaching the exit, his body make-up as Turiddu at the Metropolitan 1953 the complete opera is in the pipeline from slumped as if he were dead. He wasn’t taken Immortal Performances.* out, he was dragged out! When I saw that, with perhaps the most Italianate ‘Addio alla Jussi sang another Cavalleria on 27 knowing his health problems, I said ‘Oh my madre’ I ever heard him deliver. For once it November, this time with Zinka Milanov God! He’s had another heart attack!’ What was complete with sobs that seemed to flow as Santuzza. In between, on 21 November, made it even more dramatic was that Jussi naturally from the music. It was a remark- Tosca was on the menu, opposite Mary Cur- didn’t come out for a curtain call. able performance, but the hot-blooded tis-Verna and Cornell MacNeil. The former “But Act III began on time and after Sicilian Turiddu was always a showpiece for he was to meet again a month later, when his scene with the Jailer, Jussi sang an ‘cold, Nordic-type’ Jussi Björling.” he again sang in Cavalleria rusticana, which unforgettable ‘E lucevan le stelle’. When he Jussi’s performance of “Addio alla was to be Jussi’s last Metropolitan perfor- took the first A-natural and did a diminu- madre” from Cavalleria rusticana on 16 mance. The New York Times wrote about endo down to nothing, there wasn’t a sound November 1959 may be heard at: http:// Jussi’s Cavaradossi: “Although he is not in the house. People were holding their www.jussibjorlingsallskapet.com/uploads/ imposing in the part visually, Mr Björling’s breaths. And when he finished the aria with file/Manadens_Jussi_november_2019_ljud/ musical resources are still large enough to such bravura, the applause was almost like Addio_alla_madre_1959.mp3 make up for it. He created the essentials of a standing ovation — so many in the audi- The at the time teenaged Ed Rosen, the role with his voice and with a keen sense ence rose to their feet. Jussi was in magnifi- who saw the performance from the Stand- of musical timing. Of vocal beauty there cent voice, and it was simply perfect.” ing Room in the Family Circle, recalls more was his usual plenty, although one or two Together with the sound clips these than 40 years later how he remembered big moments were just short of maximum eye- and earwitness accounts confirm that Jussi’s entrance: strength.” Excerpts from this performance Jussi, in spite of faltering health, was still “This performance has special signif- are also available on Documents 600129. at the top of his trade, vocally as well as icance for me, since it was the very first of Cornell MacNeil, who had made his dramatically. n only three times that I heard the great Jussi Metropolitan debut 1 March that year and Björling. Turiddu’s entrance music started, was to sing 642 performances there, the last *See Immortal Performances’ announce- and Björling entered. He couldn’t sing. The one in December 1987, also as Scarpia in ment on page 11. audience erupted in shouts of ‘bravo’ and Tosca, remembered long afterwards his only ‘welcome back’ and applauded wildly, and encounter with Jussi onstage: “Tosca was Göran Forsling is a member of the Board of the music had to stop. This went on for over so underrehearsed that in the second act, Directors, Jussi Björling Sällskapet, Sweden. three minutes, and it became apparent that in his fight with the henchmen, as he was Article reprinted courtesy Jussi Björling the only way to continue the show was for screaming ‘Carnefice! Carnefice!’ Jussi broke Sällskapet. Björling to leave, and enter again. He did. loose. He acted too violently and fell to the Again Turiddu’s entrance music played, and ground with a big bump. I stood there and Editor’s Note: The glory of Jussi’s autumn this time he walked on and was ‘allowed’ I wanted to help him, but I knew I couldn’t! 1959 performances extended to an unforget- to sing. It was a moment that I will never You are Scarpia, for God’s sake, you can’t go table recital in December. Read on! forget. I can’t recall another time when a lift a prisoner! I remember the anxiety I had

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