Book contents
- Frontmatter
- Contents
- List of Illustrations
- Preface
- A Biographical Note
- Introduction
- 1 Adam
- 2 Alfvén
- 3 Atterberg
- 4 Beethoven
- 5 Bizet
- 6 Borodin
- 7 Brahms
- 8 Donizetti
- 9 Gounod
- 10 Grieg
- 11 Handel
- 12 Leoncavallo
- 13 Mascagni
- 14 Massenet
- 15 Meyerbeer
- 16 Mozart
- 17 Puccini
- 18 Rangström
- 19 Rossini
- 20 Schubert
- 21 Sibelius
- 22 Richard Strauss
- 23 Verdi
- 24 Wagner
- 25 Björling's Remaining Recordings: A Survey of the Best (1920–60)
- 26 Evolution and Influence
- Notes
- Discography
- Bibliography
- Index
6 - Borodin
Published online by Cambridge University Press: 05 February 2013
- Frontmatter
- Contents
- List of Illustrations
- Preface
- A Biographical Note
- Introduction
- 1 Adam
- 2 Alfvén
- 3 Atterberg
- 4 Beethoven
- 5 Bizet
- 6 Borodin
- 7 Brahms
- 8 Donizetti
- 9 Gounod
- 10 Grieg
- 11 Handel
- 12 Leoncavallo
- 13 Mascagni
- 14 Massenet
- 15 Meyerbeer
- 16 Mozart
- 17 Puccini
- 18 Rangström
- 19 Rossini
- 20 Schubert
- 21 Sibelius
- 22 Richard Strauss
- 23 Verdi
- 24 Wagner
- 25 Björling's Remaining Recordings: A Survey of the Best (1920–60)
- 26 Evolution and Influence
- Notes
- Discography
- Bibliography
- Index
Summary
Prince Igor
“Medlenno den' ugasal” (“Dagen gick långsamt till ro”)
March 1933: Stockholm, Concert Hall
Unspecified orchestra, cond. Nils Grevillius
Bluebell ABCD 016 (take 1); Naxos 8.110722 (take 2)
January 23, 1957: Stockholm, Concert Hall
Royal Court Orchestra, cond. Nils Grevillius
RCA 88697748922
July 28, 1960: Stockholm, Gröna Lund
Bertil Bokstedt, pf.
Bluebell ABCD 114
Eight appearances as Lensky in Eugene Onegin, eleven as the Hindu Guest in Sadko and thirty-six as Vladimir Igorevich in Prince Igor: Björling's record in Russian opera was a respectable one. The Borodin role comes eighth in the list of the parts he sang most often—after Rodolfo (114 performances), Faust (71), Manrico (67), the Duke of Mantua (56), Cavaradossi (51), Roméo (44), and Riccardo (38)—yet is easily forgotten, for Björling neither recorded the opera complete nor sang it in any language other than Swedish. The opera was not in the Met's repertoire during the central decades of the twentieth century. Even if the tenor had sung it in America he would probably have been expected to perform it in translation. And Anna-Lisa Björling makes it quite clear in her biography how thoroughly her husband disliked relearning parts in English: he put up strong resistance before agreeing to sing Fidelio in that language for a concert performance in 1948.
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- Information
- The Bjorling SoundA Recorded Legacy, pp. 34 - 37Publisher: Boydell & BrewerPrint publication year: 2012