Of all the tenors heralded as Caruso's successor, Sweden's Jussi Bjoerling came closest to meriting the distinction, according to Caruso's widow. Like Beniamino Gigli, he made an easy transition from boy soprano to lyric tenor, debuting professionally at 19 and giving concerts throughout Sweden and the U.S. with his father and brothers in the Bjoerling Male Quartet.
The Swedish artist made his professional U.S. debut in a concert broadcast from Carnegie Hall in 1937 and first appeared with the Metropolitan Opera as Rodolfo in La Bohème in 1938. He was long one of the favorite tenors at the Met, his occasional appearances at Covent Garden were always eagerly awaited and he also sang as a guest artist with the Vienna and Dresden State Operas and the Salzburg Festival. During his career his Rodolfo, his Cavaradossi in Tosca and his Des Grieux in Manon were considered unsurpassed by any of his contemporaries.
Although Bjoerling was short and an indifferent actor, the sheer allure of his singing made him an enduringly popular artist wherever he appeared — especially at the Met during the 1950s. He was also dedicated, proceeding to go on with a performance as Rodolfo at Covent Garden in 1960 in spite of a heart attack. He died the same year at age 49, his voice virtually undimmed in its luster and flexibility.
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Bizet: The Pearl Fishers: Au fond du temple saint; Puccini: Tosca: Mario, Mario, Mario!; Manon Lescaut: Oh, sarò la più bella!; Tu, tu, amore? Tu?; La Bohème: In un coupé? O Mimì, tu più non torni; Turandot: Signore, ascolta!; Non piangere, Liù; Verdi: Don Carlo: Io l'ho perduta!; Dio, che nell'alma 0nfondere; La Forza del Destino: Solenne in quest'ora; Aïda: La fatal pietra; O terra addio; Otello: Oh! monstruosa colpa!; Sì, pel ciel marmoreo giuro!
Jussi Bjoerling, Tenor; Robert Merrill, Baritone; Renata Tebaldi, Zinka Milanov, Licia Albanese, Sopranos; Chorus & Orchestra of the Rome Opera; Erich Leinsdorf, Conductor.