Evening star., 1950-03-29
Music
News
Bjoer|ing's Singing
Charms Audience
BY Alice Eversmon

When Jussi Bjoerling got into
the swing of his program last
night in Constitution Hall. he
stirred the audience to great DEM
onstrations. 1t was easily recog-
nized that the sweet quality of
his voice and his straightforward
singing was to the taste of his
listeners and gave them what is
becoming more and more rare in
formal recitals-the chance to en-
joy the loveliest of sounds. The
artist repaid them with generous
encores during the program. At
the end, 10 extra ones had to be
given before they were content to
go home.
The Metropolitan Opera tenor's
program showed no research
whatever. not even among the
lesser known works by the COM
posers listed. This fact alone left
mixture of feelings. There was,
first of all, the personal pleasure
one has in hearing VOLTS "Ver-
gorgenheit," Brahms Die Main
acht" and "Staendchen. Schu-
bert's An Silvia" and AN die
Leier," all cherished numbers, the
beauty of which is ever new. On
the other hand, they are almost
the first works to come to mind
from the vast output of each of
these composers and ones that
singers learn at the outset of their
career. They are sung constantly.
Underscoring the fact that one
succumbs to their charm every
time they are heard, that they
are choice and beloved, it seems,
nevertheless, that an artist of MI.
Bjoerling's standing could have
injected variety by offsetting
them with some songs less ia
miliar. There are many of equal
value too seldom programmed.
There are quite a few also of
American origin. It would even
have been a real treat to hear
some of Stephen Foster, if con-
temporary composers and those
just preceding them were to be
avoided. Mr. Bjoerling's special
kind of timbre would have done
full justice to simple songs of
this kind. His diction in all Ian
guages is excellent.
The tenor followed the German
group with Schubert's Die
Forelle" and Strauss "Morgen,"
given with the same easy flowing
style and appealing quality of
tone. His voice is beautiful. 1t
was at its best, however, in Alfven's
Il Long for Thee" and Sleeping
Forest" sung in Swedish, and in
the Swedish song given as encore.
His native language helped in
bringing the voice more forward
and in freeing the high tones that
were somewhat restricted in the
other songs and in the arias. ST.
belius' "Sav, Sav, Susa" and
"Svarta Rosor" suited him we'll,
also. This group held greater
emotional projection than any of
the others.
Three arias were listed. Len
skis Aria" from Tschaikowsky's
Eugene Onegin," sung in Swed-
ish, we suspect. found him hardly
warmed up enough for this open
ing number. "M'appari" from
Flotow's Martha" was so Sue
cessful that "Rudolfo's Aria" from
Puccini's La Boheme" and lie
Reve" from Massenet's "Manon"
were added, the latter. especially,
with its soft, high tones, bringing
tumultuous applause. "E lucevan
le stelle" from Puccinis "Tosca"
was likewise acclaimed, leading to
the record 10 encores.
Frederick Schauwecker was the
accompanist. The pianist nodded
his playing to the requirements of
Mr.. Bjoerling's voice and style
with great skill but at times, such
as in the arias, seemed too dis
Greet. 1t was Mr.. Bjoerling's sweet
singing that predominated, how
ever, and charmed the large au-
dience completely.