What a performance! Two of the very best singers at their brilliant best. This performance shall never be surpassed. What passion is demonstrated here. In my humble opinion Bjorling is the greatest tenor of all time. Where are the singers today who could emulate these two. I must say also that it is one of Verdi's best duets.
Definitely adored Milanov, of course Björling too! Will search to hear the whole opera with her, it's probably going to be my favourite Amelia. What she does here is already unparalleled to me.
Milanov wonderful! Bjorling pure Velvet! Did he have any idea of the exceptional beauty and fluency of what he had? I am sorry pardon me, by God, what amazing singing especially Bjorling. With true respect to so many wonderful amazing tenors, all of whom I love and deeply respect,...but Bjorling,.....UNBELIEVABLE,...Always tearing up when he sings!
For me, this is the best version of this duett I've ever heard, and I've heard a lot of other versions! Milanov at her best, and Jussi - for me the opera singer who impresses me more than any other. The beauty of sound, the ease in production, the shine on the top notes, and not to forget, the melancholy - Jussi always sang "through a wound" - 100% authentic singing! Jussi per sempre!
Estas voces son irrepetibles. También me gusta la versión de Franco Corelli pero Jussi Bjorling tiene la voz mucho más clara y brillante, y sobre todo alcanza los agudos con la misma brillantes sin sentirse forzado ni como fuera un tipo de alarido o ladrido perruno.
Milanov really soars here like an eagle. She was only 34 years old here and we can hear why she enjoyed such an illustrious career. The voice was opulent, huge, and incredibly steady. Bjoerling needs no accolades either -------- his was the greatest King Gustav on his time. These two represent opera at its greatest at that time ---------- it would get no better than that in Verdi.
@@judithbereczky4114 Anyone can see that it isn’t Jussi in the video, but anyone can also recognize that the audio certainly is Jussi. It’s explained in the info box.
Duelle? Das haben die Beiden wohl eher nicht auf der Klangbühne miteinander ausgefochten. Zinka Milanov, die 1940 auf jeden Fall noch in der Lage war, die perlmutternartig schillernde Schönheit ihrer Stimme sogar leidenschaftlich zu unterstreichen. Jussi Björling, der bis an sein viel zu frühes Lebensende das Gnadengeschenk besaß, über seine Stimme, einen jüngeren Mann darzustellen.
Two of the all-greats in their prime. To me, it's interesting how 'polite' the audience response is at the end. Now-a-days, audiences go crazy over truly inferior singing. But, thanks for posting.
One of the great problems for opera is the "politeness" of, particularly, American audiences. We now applaud performances that when first attended opera [1966] would have been booed. For some reason, American audiences [and increasingly international audiences] seem to think that just coming on the stage, no matter what you do there, deserves applause. We demean opera and opera singing by such obsequious applause and show our ignorance of what the art of opera is really about by not expecting our singers to produce real performances not just attempts at a role.
Ah, David, you are 100% correct. The audience didn't realise then that they were witnessing and listening to the 'Diamond encrusted platinum' age of singing which has irreversibly deteriorated to the 'Cracked pottery and chipped glass' age which dominates today.
Metropolitan Opera, New production opening night 12/2/1940 (broadcast 12/14/1940) Review by Virgil Thomson (New York Herald Tribune) "Zinka Milanov, the soprano heroine, has a voice of great power, range and beauty. It is particularly lovely when she sings softly. She has a tremolo when she sings loud. At her tremolo's worst, she sings off key. At its best, she does a pure whole-tone shake, or even one of a minor third, that sounds as if she were singing double-stops. Her acting last night was of the vaguest, her costume in the snow scene a paniered pyramid in which she could only flutter like a gigantic snowflake. Jussi Björling, as the tenor king, was the most elegantly costumed of the cast; and he interpreted his role with dignity and some style, if no with passion. He has a smooth and handsomely schooled voice which he forced only once or twice."
@@moonshinesa8234 You're not far off. He wasn't fired, but he had a well-known hostility for anything 'traditional' in music. He wanted his music- - for Four Saints in Three Acts to be as much beloved as anything by Verdi or Bellini. And anything that didn't reflect his very minor understanding of what 'modernism' was, he trashed. He hated Josef Hofmann, V. Horowitz, V. de Pachmann and all the other stars of music who had been at music more or less since the day they were born. He was part of a critical cabal that had stopped up ears, few brains and no hearts. And they still don't like his music.
@@tobiolopaintoHe sounds a lot like our politicians today - anything that is good, lovely, harmonious or decent doesn’t resonate with their curdled insides and it must be destroyed. Two people banging on tin pots, someone’s nails sliding down a blackboard with a backing of screeching tyres and a backfiring car plus inane lyrics are instant hits today.
Évidemment Milanov a une voix splendide et incomparable ,sans doute la plus belle avec Caballé de tout le 20 e siècle . Comment se fait il alors que je sois plus touché par la version de ce duo avec Callas et Di Stefano en live à la Scala en 1957 ? Le génie en plus peut être ?
Si vous entendez bien, Milanov n’avait pas la précision de valeurs des notes comme celle de Callas, ni la “lourdesse” dans les notes plus graves. Aussi que la qualité de phrasée et sforzando et fermati chez Milanov sont pas très géniale!
I would like to thank SHICOFF for his personal comments. I never saw Jussi, but as I mentioned previously, the first time I heard him {HMV Red Label - 78} I recognized that he was "different" to other tenors I had been following - Gigli, for instance. His voice had a richness that, as sound systems have improved, I have still found to be "different" and musically kinder to the ear. I also feel it is a pity that Fritz Wunderlich fell down his back Stairs before reaching his zenith. He's my other favourite. He could reach high's @ full volume. Wonder how he would have sounded singing the Prize Song? As far as I can research he never made a recording of it.
Only Jussi can satisfy our musical senses with his specific type of vibrato, which helps him glide to the right note just at the right time. "Lyric" or not, he certainly sounds good and full-bodied on this aged recording! I first 'found' him way back when I was in my teens (I'm 85 now) on my hand-made record player, as the pu arm 'dug' its way through the 78 Red Label HMV 12" recording of Nessun Dorma! As Vitoria de los Angeles said: "Recordings never show how wonderful his voice really is".
Only Bjorling perhaps, can satisfy your musical senses, but there are many other tenors that were great as well and satisfy many other people. Why must many Bjorling fans find it necessary to be condescending to other tenors in order to enjoy their great lyric tenor?
@@sugarbist Yes, I was aware of that. Toscanini heard him singing Wagner in 1938 in a Radio City performance, which led to his audition for a performance of the Beethoven 9th Symphony. Their association lasted until Toscanini's death, and encompassed the legendary operatic radio broadcasts and the Hymn of the Nations, this latter demonstrating some of the finest tenor singing that you will EVER hear. I bought my first Peerce recording in 1953 - the famous 1950 complete Rigoletto, with Berger and Warren - and over the years I think I got pretty well every record he ever made, and nowadays there's CZcams as well. I hear them all but I always come back to Peerce. This is purely a matter of personal preference, of course - but I never deny the quality of other greats.
They are Pobbe and Filacuridi, the original singers in this performance ( they are not actors, but singers) and the singing here is by Milanov and Bjorling. I don't know how it can be done.
Марселла Поббе очень недооцененная певица. Возможно ,объяснение этому-театры того времени были переполненны превосходными голосами, это отмечал и сам Корелли. Да и Филагуриди очень хорош, он пел и с Каллас и со со многими певцами первого плана. Они и актеры отличные, очень убедительны
Here Verdi's music, Romani's libretto and this emotionally stirring staging makes this scene downright erotic. All that's missing is Gustav lifting Amelia in the air and landing her on a bed of straw a la #Burzek. It's all beautifully done.
Pobbe did not have so big a voice , but a very pure and beautiful sound , over recorded with Milanov you wouldn't hear Pobbe . With regard to the tenor , I can hear Filacuridi's voice obscuring the clarity of Bjorling .
Now I know why people raved about her. The 40s were her anni mirabili, the 50s showed some real flaws, singing flat for long periods, scooping her finishes-nevertheless, she had many great nights of singing til the late 50s and 60s, when she just ran out of gas and the singing was lackluster and her pitches were vague.
The only other pair that rivals them in this duet was Leontyne Price and Carlo Bergonzi. Bjoerling has more ring( squillo) but Bergonzi’s diction and phrasing may slightly surpass him. Milanov is wonderful with her high piano notes but Price is my favorite of all
peter podol: I fully agree with you! For me, Price and Bergonzi are amongst the finest, most thrilling Verdi singers of 20th century. This Milanov-Bjoerling performance is new to me and is truly wonderful.
Wow! As always, Bjorling mesmerizes me; I just can't believe it comes out of a human. And, this may be the best I have heard the frightening Milanov. She is stupendous here! Such a magnificent instrument, but she is usually has pitch problems, is too wild... and is so frustrating. Of course, if she hadn't employed the "low larynx" thing ( which so many used ) she wouldn't have had so much trouble above an Ab. There were things teachers didn't know about the science of the voice in those days; certainly not when Milanov was studying.The larynx shouldn't even be thought about while singing; it lowers naturally and in a relaxed manner if the intake of breath is easy; the muscles are then relaxed for phonation; the throat is "open". The only tension a singer should have is around the abs and back, not is the throat, not in the groin! Pushing, depressing the larynx is death to a singer; listen to her commercial Tosca; she can't even sing a G on pitch. . What Milanov did was to press, depress the larynx, depresses me even to think about it. Such tension. Tebaldi did this; it was accepted and taught. Good god, she was never consistent. Millo could have sung much , much longer if she hadn't pushed those muscles. It is great for making a dark tone but terrible for longevity and ease and pitch. Here, Milanov doesn't sound as throaty as usual. Of course, listen-she can't do anything on top but hurl the sound; at least here it is on pitch most of the time. Even her famous pianissimo was never released without a big slide. She was a dreadful technician with a magnificent sound. You're welcome.
@@paragod333 Actually, I am THE voice teacher. What do you want to know? I don't need to hear her in person. I can tell you what it good and what is awful and WHY. Probably, when you finish brunch with the other girls tomorrow you should have your hearing checked.
I am of the opinion that this recording is a fake , that someone has recorded Bjorling and Milanov's voices over the voices of Filacuridi and Pobbe , I believe we are hearing all four voices combined , not purely Bjorling and Milanov .
I am not convinced that this was the voice of Bjorling , it actually sounds like Filacuridi , Bjorling had Squllo which Filacuridi did not . As this film was made for RAI I think it more likely that Pobbe and Filacuridi were actually singing , though I would agree that the Soprano voice seems bigger than Pobbe's .
@@tenore8 I am sorry to say , but I think you are mistaken . I have checked out this RAI film , there is no mention of vocal dubbing . RAI made a lot of recordings of operas for television ; both Filacuridi and Pobbe were regular performers ; RAI did not dub them with the voices of other singers . Filacuridi did not have the most acute sounding voice , but was a good actor , Pobbe had a most beautiful voice , was a superb actress and singer . Listening very carefully to this recording , I think that there is a possibility that the poster of this clip from the RAI film , may have himself over recorded Bjorling and Milanov onto the film . Bjorling's voice had an absolute clarity and ring , squillo , which I am not hearing in this recording . One thing for certain RAI did not dub these principal singers .
This is indeed the matchless voice of the great Swedish tenor!! There is no other whose brilliant, passionate, silvery sounds are quite like Jussi's, not to mention his remarkable musicality, always in the service of whatever music he is performing.. I saw and heard him live several times at Lyric Opera of Chicago ("Tosca," "La Boheme," "Il Trovatore.," "Aida," "Rigoletto," etc) and can verify that he was indeed the absolute, real thing: a truly stupendous voice matched to an incomparable technique and comparably magnificent musicality. No, he was no great actor, but he completely made up for that in his remarkably dramatic and exquisitely artful and refined musicality. With such prodigious gifts it hardly mattered that he was not what one would consider to have been a great stage actor!
What a performance! Two of the very best singers at their brilliant best. This performance shall never be surpassed. What passion is demonstrated here. In my humble opinion Bjorling is the greatest tenor of all time. Where are the singers today who could emulate these two. I must say also that it is one of Verdi's best duets.
Björling/Milanov great singers!
Joerling wonderful and Milanov. Perfect aknd emotive.
Milanov in her prime...an avalanche of magnificent sound...
Great singing of the past!!!!!!!!!
The ART of SINGING LOST to the Golden Era
Definitely adored Milanov, of course Björling too! Will search to hear the whole opera with her, it's probably going to be my favourite Amelia. What she does here is already unparalleled to me.
Milanov wonderful! Bjorling pure Velvet! Did he have any idea of the exceptional beauty and fluency of what he had? I am sorry pardon me, by God, what amazing singing especially Bjorling. With true respect to so many wonderful amazing tenors, all of whom I love and deeply respect,...but Bjorling,.....UNBELIEVABLE,...Always tearing up when he sings!
BJORLING
Absolutely glorious! Wish I could give this 5 stars! ❤❤❤❤❤ Jussi is just incredible as usual and Milinov is at her best!
Meraviglioso duetto...uno dei più belli verdiani...cantati con questa bravura, davvero una pietra di paragone.
Due grandissimi ; ;
fantastic singing
Due grandissimi leoni della lirica di tutti i tempi. Meravigliosi tutti e due.
Divine, heavenly singing!
World champions ! Björling and Milanov. They cannot sing like this today ! SUPERB
I believe Björling had the most beautiful voice of the great 20th century tenors.
I agree with you:io ADORO la voce di Bjorling!!!
Probably!
Yes ! Björling and Di Stefano.
He was the most gorgeous tenor, without exception, the voice of an angel.
Jussy have a wonderfull voice!! He's very amazing ❤
For me, this is the best version of this duett I've ever heard, and I've heard a lot of other versions! Milanov at her best, and Jussi - for me the opera singer who impresses me more than any other. The beauty of sound, the ease in production, the shine on the top notes, and not to forget, the melancholy - Jussi always sang "through a wound" - 100% authentic singing! Jussi per sempre!
LISTEN TO ELIZABETH WITH BJORLING
Listen Corelli and Crespin.
Estas voces son irrepetibles. También me gusta la versión de Franco Corelli pero Jussi Bjorling tiene la voz mucho más clara y brillante, y sobre todo alcanza los agudos con la misma brillantes sin sentirse forzado ni como fuera un tipo de alarido o ladrido perruno.
@@leonardopizzella7834 Muy buen comentario! Björling se desliza tan bien entre las notas y entre las notas altas y bajas sin esfuerzo.
Peerce and Milanov are terrific also.
Beautiful!
Milanov really soars here like an eagle. She was only 34 years old here and we can hear why she enjoyed such an illustrious career. The voice was opulent, huge, and incredibly steady. Bjoerling needs no accolades either -------- his was the greatest King Gustav on his time. These two represent opera at its greatest at that time ---------- it would get no better than that in Verdi.
Jussi again the best. No one comes even close
The passionate acting of Pobbe and Filacurdi, but the magnificent voices of Milanov and Bjorling - How clever of you!
***** Glad you approve, Roberta. You are quite an expert on the great voices of that era.
@@BazzasBest Pobbe and Filacurdi are the original singers in this performance. They are not actors.
@@judithbereczky4114 Anyone can see that it isn’t Jussi in the video, but anyone can also recognize that the audio certainly is Jussi. It’s explained in the info box.
@@judithbereczky4114 It isnt difficult to recognaise Jussis voice hes voice was uniq ... and Zinkas voice too.
Great duet !
milanov/bjorling
FANTASTICO
Absolutely Incredible....beyond words!
Cavalheiro e carinhoso....que homem incrível....Deus abençoe.
Just mention the name Björling...
Nothing else to add.
🎵❤️🎵
Zinka Milanov has such a regal voice!
Do you think. Who is better technically between Milanov and Ponselle?
Wonderful couple!
Grandi!!!
Thanks for posting something different, though I think I'd rather see Bjorling and Milanov performing!
UNICOS !!!
Wow!!
Per me non esiste voce più bella e tecnica migliore di quella espressa da Bjorling, per certi ruoli non trovo paragoni.
BRAVISSIMI...UNA MERAVIGLIA!!!!!
This is Verdi's most beautiful and rapturous duet, sung perfectly. The video, however is comical. An Italian movie maybe??
Duelle? Das haben die Beiden wohl eher nicht auf der Klangbühne miteinander ausgefochten. Zinka Milanov, die 1940 auf jeden Fall noch in der Lage war, die perlmutternartig schillernde Schönheit ihrer Stimme sogar leidenschaftlich zu unterstreichen. Jussi Björling, der bis an sein viel zu frühes Lebensende das Gnadengeschenk besaß, über seine Stimme, einen jüngeren Mann darzustellen.
Two of the all-greats in their prime. To me, it's interesting how 'polite' the audience response is at the end. Now-a-days, audiences go crazy over truly inferior singing. But, thanks for posting.
One of the great problems for opera is the "politeness" of, particularly, American audiences. We now applaud performances that when first attended opera [1966] would have been booed. For some reason, American audiences [and increasingly international audiences] seem to think that just coming on the stage, no matter what you do there, deserves applause. We demean opera and opera singing by such obsequious applause and show our ignorance of what the art of opera is really about by not expecting our singers to produce real performances not just attempts at a role.
Ah, David, you are 100% correct. The audience didn't realise then that they were witnessing and listening to the 'Diamond encrusted platinum' age of singing which has irreversibly deteriorated to the 'Cracked pottery and chipped glass' age which dominates today.
@@wilsonwatt9283 Bravo, well said.
Wer ist dieser Schauspieler, der sich hier bemüht auf Björling zu machen?
Hier haben wir nur die grandiose Stimme von Björling.
@@petelovesbevsills Yeas, with people like Bocelli idolised.
She sounds so different here. Oh, but this is a magnificent duet.
EXQUISITO DUO
Metropolitan Opera, New production opening night 12/2/1940 (broadcast 12/14/1940)
Review by Virgil Thomson (New York Herald Tribune)
"Zinka Milanov, the soprano heroine, has a voice of great power, range and beauty. It is particularly lovely when she sings softly. She has a tremolo when she sings loud. At her tremolo's worst, she sings off key. At its best, she does a pure whole-tone shake, or even one of a minor third, that sounds as if she were singing double-stops. Her acting last night was of the vaguest, her costume in the snow scene a paniered pyramid in which she could only flutter like a gigantic snowflake.
Jussi Björling, as the tenor king, was the most elegantly costumed of the cast; and he interpreted his role with dignity and some style, if no with passion. He has a smooth and handsomely schooled voice which he forced only once or twice."
What they didn't tell you was that the critic was fired two weeks after his review.😂
OK so I lied.
@@moonshinesa8234 You're not far off. He wasn't fired, but he had a well-known hostility for anything 'traditional' in music. He wanted his music- - for Four Saints in Three Acts to be as much beloved as anything by Verdi or Bellini. And anything that didn't reflect his very minor understanding of what 'modernism' was, he trashed. He hated Josef Hofmann, V. Horowitz, V. de Pachmann and all the other stars of music who had been at music more or less since the day they were born. He was part of a critical cabal that had stopped up ears, few brains and no hearts. And they still don't like his music.
@@tobiolopaintoHe sounds a lot like our politicians today - anything that is good, lovely, harmonious or decent doesn’t resonate with their curdled insides and it must be destroyed. Two people banging on tin pots, someone’s nails sliding down a blackboard with a backing of screeching tyres and a backfiring car plus inane lyrics are instant hits today.
Évidemment Milanov a une voix splendide et incomparable ,sans doute la plus belle avec Caballé de tout le 20 e siècle . Comment se fait il alors que je sois plus touché par la version de ce duo avec Callas et Di Stefano en live à la Scala en 1957 ? Le génie en plus peut être ?
Si vous entendez bien, Milanov n’avait pas la précision de valeurs des notes comme celle de Callas, ni la “lourdesse” dans les notes plus graves. Aussi que la qualité de phrasée et sforzando et fermati chez Milanov sont pas très géniale!
And I thought that nobody could match Maria Caniglia and Beniamino Gigli! Brilliant! Thank you.
Ther is also the Peerce/Milanov performance to enjoy.
it's a pity that we can't see here acting of great Mme Milanov.
Visually I would have preferred the Bjorling and Milanov.
Thanks for posting
I would like to thank SHICOFF for his personal comments. I never saw Jussi, but as I mentioned previously, the first time I heard him {HMV Red Label - 78} I recognized that he was "different" to other tenors I had been following - Gigli, for instance. His voice had a richness that, as sound systems have improved, I have still found to be "different" and musically kinder to the ear. I also feel it is a pity that Fritz Wunderlich fell down his back Stairs before reaching his zenith. He's my other favourite. He could reach high's @ full volume. Wonder how he would have sounded singing the Prize Song? As far as I can research he never made a recording of it.
Milanov excelente. Bjoerling, idem. Os melhores. K
Wowwwwww
Only Jussi can satisfy our musical senses with his specific type of vibrato, which helps him glide to the right note just at the right time. "Lyric" or not, he certainly sounds good and full-bodied on this aged recording! I first 'found' him way back when I was in my teens (I'm 85 now) on my hand-made record player, as the pu arm 'dug' its way through the 78 Red Label HMV 12" recording of Nessun Dorma! As Vitoria de los Angeles said: "Recordings never show how wonderful his voice really is".
Only Bjorling perhaps, can satisfy your musical senses, but there are many other tenors that were great as well and satisfy many other people. Why must many Bjorling fans find it necessary to be condescending to other tenors in order to enjoy their great lyric tenor?
Nice comment Michael! Yes, Jussi was unique! You see it everywhere, those who once discover Jussi always stay with Jussi!
@@sugarbist Quite. I love Bjorling but my out and out established favourite now, after years of listening, is Jan Peerce.
@@sugarbist Yes, I was aware of that. Toscanini heard him singing Wagner in 1938 in a Radio City performance, which led to his audition for a performance of the Beethoven 9th Symphony. Their association lasted until Toscanini's death, and encompassed the legendary operatic radio broadcasts and the Hymn of the Nations, this latter demonstrating some of the finest tenor singing that you will EVER hear. I bought my first Peerce recording in 1953 - the famous 1950 complete Rigoletto, with Berger and Warren - and over the years I think I got pretty well every record he ever made, and nowadays there's CZcams as well. I hear them all but I always come back to Peerce. This is purely a matter of personal preference, of course - but I never deny the quality of other greats.
@@edwardkerrigan5356 Dear Edward, Peerce was a fine musician and tenor. Thank yo for sharing this information with me.
Voices are Bjoerling & Milanov, but the actors we see are not them.
Is Nicola filacuridi
They are Pobbe and Filacuridi, the original singers in this performance ( they are not actors, but singers) and the singing here is by Milanov and Bjorling. I don't know how it can be done.
Ridiculous
@@diegoaugustosalomon5899 And Marcella Pobbe.
Марселла Поббе очень недооцененная певица. Возможно ,объяснение этому-театры того времени были переполненны превосходными голосами, это отмечал и сам Корелли. Да и Филагуриди очень хорош, он пел и с Каллас и со со многими певцами первого плана. Они и актеры отличные, очень убедительны
Croatian slavuj that will never be surpast
😊😊
gee bjorling has gotten much taller hahaha
Great job, Barry. I suppose that you had to adjust the movie speed somehow.
Here Verdi's music, Romani's libretto and this emotionally stirring staging makes this scene downright erotic. All that's missing is Gustav lifting Amelia in the air and landing her on a bed of straw a la #Burzek. It's all beautifully done.
❤❤❤❤❤❤❤❤❤❤❤💜💜💜💜💜💜💜💜💜💜💜❣❣❣❣❣❣❣❣❣❣❣❣❣❣❣❣❣❣
Sono la Pobbe e Filacuridi
how thrilling🥹
Where are the voices of Pobbe and Fillicurdi?
Pobbe did not have so big a voice , but a very pure and beautiful sound , over recorded with Milanov you wouldn't hear Pobbe . With regard to the tenor , I can hear Filacuridi's voice obscuring the clarity of Bjorling .
This film tenor just died in 2009
Trouble is this is not Bjorling
No
A younger JB with a little more vibrato than usual, but still both sing very beautifully
Sir, get thee to an audio center and purchase a deluxe hearing aid.
As somebody has said this is a pirate recording . With voices of Bjorling and Milanov recorded over the voices of Filacuridi and Pobbe .
Are you kidding?
Here is another video of this duet - czcams.com/video/IYHLXI405qs/video.html.
This is the link to the complete work. czcams.com/video/1XvsWpQZG3I/video.html
This is a clip from the RAI Film with Marcella Pobbe and Nicola Filacuridi - czcams.com/video/s6V5crsc-Po/video.html
The Malé Singer is not Jussi Björling!!
The voices are right but this doesn't look like Bjorling I think it's dubbed with actors
If you read all of the comments, that is mentioned from the beginning.
Now I know why people raved about her. The 40s were her anni mirabili, the 50s showed some real flaws, singing flat for long periods, scooping her finishes-nevertheless, she had many great nights of singing til the late 50s and 60s, when she just ran out of gas and the singing was lackluster and her pitches were vague.
As wonderful as this is, the synchronization seems off. I wonder if this was filmed and then dubbed (by their own voices of course).
It’s not Björling and Milanov you see. It’s only their voices you hear
The only other pair that rivals them in this duet was Leontyne Price and Carlo Bergonzi. Bjoerling has more ring( squillo) but Bergonzi’s diction and phrasing may slightly surpass him. Milanov is wonderful with her high piano notes but Price is my favorite of all
I am sorry to disagree, wonderful as they are, they are surpassed by Callas and Di Stefano. As to Price and Bergonzi, the same applies.
peter podol: I fully agree with you! For me, Price and Bergonzi are amongst the finest, most thrilling Verdi singers of 20th century. This Milanov-Bjoerling performance is new to me and is truly wonderful.
@@carlfigueiredo2095 Check out the Peerce and Milanov as well.
...IS NOT BJOERLING
...IS TO BJORLING
Разкошни певци и артисти
It doesn’t look like Björling or Milanov.
These are actors only. Here is another video of this duet - czcams.com/video/IYHLXI405qs/video.html
Wow! As always, Bjorling mesmerizes me; I just can't believe it comes out of a human. And, this may be the best I have heard the frightening Milanov. She is stupendous here! Such a magnificent instrument, but she is usually has pitch problems, is too wild... and is so frustrating. Of course, if she hadn't employed the "low larynx" thing ( which so many used ) she wouldn't have had so much trouble above an Ab. There were things teachers didn't know about the science of the voice in those days; certainly not when Milanov was studying.The larynx shouldn't even be thought about while singing; it lowers naturally and in a relaxed manner if the intake of breath is easy; the muscles are then relaxed for phonation; the throat is "open". The only tension a singer should have is around the abs and back, not is the throat, not in the groin! Pushing, depressing the larynx is death to a singer; listen to her commercial Tosca; she can't even sing a G on pitch. . What Milanov did was to press, depress the larynx, depresses me even to think about it. Such tension. Tebaldi did this; it was accepted and taught. Good god, she was never consistent. Millo could have sung much , much longer if she hadn't pushed those muscles. It is great for making a dark tone but terrible for longevity and ease and pitch. Here, Milanov doesn't sound as throaty as usual. Of course, listen-she can't do anything on top but hurl the sound; at least here it is on pitch most of the time. Even her famous pianissimo was never released without a big slide. She was a dreadful technician with a magnificent sound. You're welcome.
Obviously you never heard Milanov in person or you wouldn't be spouting such nonsense. I hope you're not a voice teacher.
@@paragod333 Actually, I am THE voice teacher. What do you want to know? I don't need to hear her in person. I can tell you what it good and what is awful and WHY. Probably, when you finish brunch with the other girls tomorrow you should have your hearing checked.
Sono Nicolai Filacuridi e la Marcella Pobbe e non Bjorling e la Milanov.
Sono Filacuridi e Pobbe nel video -- il suono e di Bjorling e la Milanov, loro voci sono assolutamente riconoscibili.
@@galanis38 , si si, io dicevo dell'immagine.
@@fabriziogarzi9892 A, ok, bene, per l'immagine ha ragione!
The voices of Bjorling and Milanov impersonated by God knows who.. Ridiculous!
The impersonation is only in the photography. The voices are real - Bjoerling and Milanov.
@@galanis38 You are correct
I am of the opinion that this recording is a fake , that someone has recorded Bjorling and Milanov's voices over the voices of Filacuridi and Pobbe , I believe we are hearing all four voices combined , not purely Bjorling and Milanov .
Not sure how you get that idea, but you could never get them to line up exactly in timing without distorting the pitch.
I am not convinced that this was the voice of Bjorling , it actually sounds like Filacuridi , Bjorling had Squllo which Filacuridi did not . As this film was made for RAI I think it more likely that Pobbe and Filacuridi were actually singing , though I would agree that the Soprano voice seems bigger than Pobbe's .
Of course this is Bjorling. UNMISTAKEABLE.
@@tenore8 I am sorry to say , but I think you are mistaken . I have checked out this RAI film , there is no mention of vocal dubbing . RAI made a lot of recordings of operas for television ; both Filacuridi and Pobbe were regular performers ; RAI did not dub them with the voices of other singers . Filacuridi did not have the most acute sounding voice , but was a good actor , Pobbe had a most beautiful voice , was a superb actress and singer . Listening very carefully to this recording , I think that there is a possibility that the poster of this clip from the RAI film , may have himself over recorded Bjorling and Milanov onto the film . Bjorling's voice had an absolute clarity and ring , squillo , which I am not hearing in this recording . One thing for certain RAI did not dub these principal singers .
No question at all that this is Milanov and Bjoerling.
David Barneby Only Bjorling could sing like this . You are incorrect saying this is not Jussi.
This is indeed the matchless voice of the great Swedish tenor!! There is no other whose brilliant, passionate, silvery sounds are quite like Jussi's, not to mention his remarkable musicality, always in the service of whatever music he is performing.. I saw and heard him live several times at Lyric Opera of Chicago ("Tosca," "La Boheme," "Il Trovatore.," "Aida," "Rigoletto," etc) and can verify that he was indeed the absolute, real thing: a truly stupendous voice matched to an incomparable technique and comparably magnificent musicality. No, he was no great actor, but he completely made up for that in his remarkably dramatic and exquisitely artful and refined musicality. With such prodigious gifts it hardly mattered that he was not what one would consider to have been a great stage actor!
Sounds like Björling but doesn't look like Björling....
I think it is sick to have Bjorling and Milanov sing to some other people's video.
This is not BJörling !!!!!!!!!!
Lástima quelainagen no corresponda
Luego dicen que Caballé no fraseaba cuando no le venía bien... Están brillantes, sí, pero bueno, hay algunos peros. Sobre todo ella.
Singing is glorious but the acting is laughable.
EXQUISITO DUO