Here are the items that we found.
Rigoletto
Jussi Björling's presence adds a welcome jolt of star power to this otherwise provincial-sounding performance of Verdi's Rigoletto. Though not in absolute peak form, he still delivers with that unmistakable Italianate ring and elegance that sets him clearly apart from the rest of the cast.
The most compelling of the remaining principals is Kerstin Meyer, whose droll Maddalena adds a touch of character and vocal color. Sven-Erik Jacobsson, as her brother Sparafucile, makes little impression, and Erik Sundquist sings an unobjectionable, technically solid Rigoletto, though his interpretation leans more toward dutiful than distinctive. Eva Prytz brings an attractive, if slightly fluttery, tone to Gilda, but her upper register lacks security, especially in the cadenzas.
Of particular historical interest is the appearance of a young Ingvar Wixell—one of the great future interpreters of Rigoletto—in the small role of Conte Ceprano.
Track List
Act I
1. Preludio
2. Della mia bella incognita borghese
3. Questa o quella per me pari sono
4. In testa che avete, signor di Ceprano?
5. Ch'io gli parli!
6. Quel vecchio maledivami!
7. Pari siamo!
8. Figlia! Mio Padre!
9. Giovanna, ho dei rimorsi
10. Addio! speranza ed anima
11. Gualtier Maldè...caro nome che il mio cor
12. Riedo!...perché?
13. Zitti, zitti, moviamo a vendetta
2. Della mia bella incognita borghese
3. Questa o quella per me pari sono
4. In testa che avete, signor di Ceprano?
5. Ch'io gli parli!
6. Quel vecchio maledivami!
7. Pari siamo!
8. Figlia! Mio Padre!
9. Giovanna, ho dei rimorsi
10. Addio! speranza ed anima
11. Gualtier Maldè...caro nome che il mio cor
12. Riedo!...perché?
13. Zitti, zitti, moviamo a vendetta
Act II
14. Ella mi fu rapita!
15. Duca! Duca!
16. Povero Rigoletto!
17. Cortigiani, vil razza dannata
18. Mio Padre!...Tutte le feste al tempio
19. Schiudete: ire al carcere Monterone dee
21. La donna è mobile
22. Un dì, se ben rammentomi
23. Bella figlia dell'amore
24. Vendi, scudi hai tu detto?
25. È amabile invero cotai giovinotto
26. Della vendetta alfin giunge l'istante!
27. Chi è mai, chi è qui in sua vece?
15. Duca! Duca!
16. Povero Rigoletto!
17. Cortigiani, vil razza dannata
18. Mio Padre!...Tutte le feste al tempio
19. Schiudete: ire al carcere Monterone dee
Act III
20. E l'ami?...Sempre.21. La donna è mobile
22. Un dì, se ben rammentomi
23. Bella figlia dell'amore
24. Vendi, scudi hai tu detto?
25. È amabile invero cotai giovinotto
26. Della vendetta alfin giunge l'istante!
27. Chi è mai, chi è qui in sua vece?
Customer Reviews
Share your experience with fellow collectors
Share Your Experience
A star rating alone is welcome, and reviews may be written in any language.
4.5
Based on 2 reviews
✓ Verified Buyer
Norway
Bjorling in fine form
There are two complete live performances of Björling’s Duke of Mantova; 1945 at the Met and this one from Stockholm in 1957. In 1945 he was in fantastic voice with incredibly brilliant and ringing top B’s. That one has yet to be equalled by anyone. 12 years later he is almost just as ravishing. Only the conclusion of La donna è mobile is somewhat below his usual standards. He makes up for that in the rest of the performance which is throughout marked with superb vocalism. Bjorling is the draw on every recording he makes his presence. His voice was one of a kind. Effortless from top to bottom. Dramatic when requiered. Faultless? No, he could be more cynical as the Duke. If any Italian could beat him at anything, it would be that. Vocally, Bjorling stands alone. At the top.
Report
✓ Top Reviewer
United States
Good Performance in Excellent Sound!
I remember when this performance was issued on the Swedish Bluebell label several decades ago. Jussi Björling was, of course, the big draw as the other singers were not well-known in the United States. Björling is in good late career voice: the middle is sweet and steady, the phrasing sumptuous, the top ringing. He declines to interpolate a high D-flat at the end of the "Addio, addio" cabaletta, but there are two magnificent high Bs in Act Three. Sometimes he oversings; he's too loud in the last act quartet. If you're a Björling fan though you'll enjoy his singing here.The other singers may not be well-known outside of Sweden, but they're all more than competent. Hasslo sings and acts an excellent Rigoletto, his portrayal filled with all sorts of specific details. The Act Two "Piangi, fanciulla" duet is heartbreaking. Prytz sounds like the young, naive Gilda to the life. She was not a high coloratura and contents herself with interpolating a D-flat at the end of the afore-mentioned cabaletta (no E-flat at the end of the "Si, vendetta", the quartet ends as written). But she knows how the part goes and is a worthy partner to her colleagues. She also lets out a frightening scream when stabbed by Sparafucile. The supporting cast is excellent. The sound, taken from a broadcast, is very good. While the first disc is fine, the second has those annoying pauses between tracks because someone didn't choose the correct setting when transferring the music - grrr...
Report
