From: Russ
To: VOCALIST <vocalist>
Subject: RE: RE: The charm of the old and Gigli, Bjorling and Hislop
Send reply to: VOCALIST <vocalist>

When Gigli won the 1914 Parma awards, it was said that some of the judges
stated, "we have found the tenor." Of course it's well known that he was
Caruso's successor at the met from 21-32, and (ironically a fairly tenor thing
:O) he left cause of a dispute over money (which incidentally so did Bjorling
haha)...ahhh gotta love them :)
There are cd's out that cover Gigli's met years and I find that they are the
extremely important to have, as is another collection of Popular songs (chanson
populares, which has a wonderful version of povero pucinella which is part of a
cycle written for especially for Caruso). Gigli's affectations cost him
throughout his career, (though I don't know if his verismo sobs had any effect
or not), but there are recordings near the end of his career that show a
substantial change in vocal quality. Though to be fair his voice still had great
beauty in it, but it's not the same sound that he had in his early days (the top
is a bit more challenging). Could it be possible that his smoking did this? I
don't know.... Gigli is one of my favorite tenors.
Bjorling on the other hand is my favorite tenor and they are in the same fach,
except that (to my ears at least) where Gigli has an incredible sweetness in his
sound (the only comparable tenor I could think of to him is early Carreras),
Bjorling had a silvery shimmer (radiant notes if you will). Though Bjorlings
demon's are very well known, what should be even more remembered is his
incredible technique. Joseph Hislop taught Jussi his top (and if you can find
any of Hislops recordings you will hear that Jussi took his technique to
heart...many say that Jussi is a swedish tenor, but his sound is so incredibly
similar to Hislops that I have always fancied Bjorling a Scottish tenor (hehe
since Hislop is Scottish :)). His Carnegie Hall recital is incredible and well
worth many many listens.... Though since you are into tenors I would also highly
suggest listening to some Wunderlich...he is wonderful as well. :) (can't go
wrong with Fritz)
These singers are incredible and never took shortcuts in a studio... if (on the
other hand) you listen to the 1972 (I believe) recording of Domingo sings Caruso
you will find (if you listen really closely) that somewhere on the disc is a
soprano singing an overtone (quite ridiculous if you ask me :).. but that has
always been a sore spot to me about Domingo.


Regards,
The blunt one :O)

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