Jussi Björling

Born on February 5, 1911, in Stora Tuna, Sweden, Johann Jonatan Björling grew up as the son of tenor David Björling. Beginning in 1916, the father joined forces with his three sons—Johann Olof (1909-1965), Karl Gustav (1912-1957), and Johann Jonatan himself, known respectively by the nicknames Olle, Gösta, and Jussi—to tour as the Björling Male Quartet. A younger sibling, Karl David (“Kalle,” [1917-1875]), likewise pursued a singing career, as did all three of the original touring brothers. The group performed across the United States between 1919 and 1921 before returning to Sweden, where it continued performing until 1926. When the young singer’s voice settled into the tenor range, its strength and clarity remained undiminished, a result of the careful technical guidance he had received from his father.

In 1928 Björling enrolled at the Stockholm Conservatory, where his instructors were Joseph Hislop and John Forsell. He first appeared on the stage of the Royal Swedish Opera on July 21, 1930, taking the small role of the Lamplighter in Puccini’s Manon Lescaut as a preliminary step before his formal debut as Don Ottavio in Mozart’s Don Giovanni on August 20 of the same year. Soon afterward he added Arnold in Rossini’s Guillaume Tell and Jonathan in Nielsen’s Saul og David to his schedule. He remained a regular member of the Stockholm Opera ensemble through 1938 and maintained a lasting connection with the company thereafter.

His reputation spread beyond Sweden, leading to engagements at major European houses. A Carnegie Hall recital in 1937 marked his New York debut and was transmitted live from the stage. That same season he made his first appearance at the Metropolitan Opera, singing the role of Rodolfo in Puccini’s La Bohème, one of the parts with which he became most closely identified. Before the outbreak of World War II he was also heard in San Francisco, Chicago, and at Covent Garden. In 1935 he married Anna-Lisa Berg. During the war years 1941-1945 he remained in neutral Sweden, after which he resumed appearances on leading international stages. From 1945 to 1959 he sang at the Metropolitan Opera in every season except two.

Italian opera formed the core of his repertory, and he enjoyed particular success in New York, though his reception in Italy itself was more measured. In this regard his career paralleled that of Martinelli, another tenor whose pure, powerful instrument and ringing upper register succeeded without reliance on the dramatic vocal effects, such as sobbing catches in the voice, that Italian audiences often favored. Besides Rodolfo, his principal roles included Cavaradossi in Tosca, Des Grieux in Manon Lescaut, the title character in Gounod’s Faust, Verdi’s Don Carlos, and the Duke of Mantua in Rigoletto. Throughout his range he maintained remarkable tonal evenness, a notably smooth line, exceptional beauty of timbre, and keen musical insight; these qualities, along with an absence of strain, persisted undiminished until the end of his career.

On March 15, 1960, while preparing the role of Rodolfo at the Royal Opera House, Covent Garden, he suffered a heart attack yet continued with the performance despite the pain. His last appearance took place on August 20, 1960. He died in Stockholm on September 9, 1960, at the age of forty-nine.

A substantial legacy of recordings preserves his work. A classic account of La Bohème under Sir Thomas Beecham captured his Rodolfo for posterity. His Turandot, featuring Renata Tebaldi and fellow Swede Birgit Nilsson under Erich Leinsdorf, helped win belated public favor for Puccini’s final opera. Several lighter Swedish radio concerts have also appeared on disc.