When my Father Jussi was chosen as the 20th century’s leading male opera singer by English music critics at the turn of the century, we felt great joy and pride in the family. From my very early age I experienced singing and music at home, but most of all, I remember visiting the Opera house when Father sang. A strong memory was La bohème. I tried to hide my tears trickling down the cheek in the last act. Usually it was very ex citing to sit in the orchestra seats and keep up with everything that happened on stage. Everyone wore make-up and strange costumes, but as soon as Father began to sing, I recognized him. It was easy. He sounded ‘different’ than the rest of the ensemble. My Father was in his early 30s and had then been singing for 25 years. Already at the age of four to five, my Father and his brothers began to learn the
essentials of the art of singing under my grandfather David’s solid guidance.
I have spent a great deal of my life exploring the secrets of the Italian bel canto, conveyed by David and my Father, and I ha ve reached the conclusion that there are no secrets; it is just the natural voice that has to be heard, free from settings and so-called tone formation. There is only one problem; it takes time. Manipulation of the voice in different ways to achieve quick results is doomed to fail. If I can contribute to pass the Björling singing tradition on to future generations of singers, I will be more than pleased. - Lars Björling
Tchaikovsky: Lensky's aria from Eugene Onegin; Verdi: Ella mi fu rapita! from Rigoletto, act 2; La donna è mobile from Rigoletto, act 4; La vita e'inferno all'infelice from La Forza del destino; Mozart: Dies Bildnis ist bezaubernd schön from Die Zauberflöte, act 1; Se all'impero, amici Dei from La Clemenza di Tito, act 2; Un'aura amorosa from Così fan tutte, act 1; Gounod: Prologue from Faust, act 1; Salut! demeure chaste et pure, recitative and aria from Faust, act 3; Flotow: M'apparì tutt'amor from Marta; Bizet: A cette voix quel trouble from Les Pécheurs de perles, act 1; Puccini: Donna non vidi mai from Manon Lescaut, act 1; Meyerbeer: Mi batte il cor.. O Paradiso from Le Africaine; Giordano: Un dì all'azzuro spazio from Andrea Chénier; Cilea: E la solita storia from L'arlesiana; Rossini: Se il mio nome saper from Il Barbiere di Siviglia; Korngold: Marietta's Lied from Die tote Stadt; Rachmaninov: Chanson Georgienne, Op. 4:4; The wind whispered, Op. 34:4; Loneliness, Op. 21:6; How fair this spot, Op. 21:7; The Answer, Op. 21:4; In the silence of the night, Op. 4:3; Alfvén: Skogen sover, Op. 28:6; Serenad, Op. 4:2; Aftonstämning (Ved huset), Op. 21:1; Sommardofter, Op. 8:2; Aftonen, R.187; Saa tag mitt Hierte, R.203; Jag längtar Dig, Op. 28:5; Boldemann: Mopsen; Den gröna hagen; Tanten och Papegojan; Purjo och Rädisa; Obradors: Corazón porque pasais..; Con amores, la mi Madre; Del cabello mas sutil; Bellini: Malinconia, Ninfa gentile; Dolente immagine di Fille mia; Stenhammar: Lycklandsresan, Op. 26:8; Lutad mot gärdet, Op. 8:1; Vore jag ett litet barn, Op. 37:4; I Skogen; En positivvisa, Op. 38:4; Körling: Aftonstämning;