Milanov and Björling. One of the legendary pairings
on the opera stage. When these two sing together, it is
much more sensuous (and sensual) than many of the “love”
scenes in today’s movies.
Milanov and Björling. One of the legendary pairings
on the opera stage. When these two sing together, it is
much more sensuous (and sensual) than many of the “love”
scenes in today’s movies.
I have already provided a brief biographical sketch of Milanov, and there are numerous sites dedicated to Björling, so I won’t add my scribblings; if you want to find more on him, try some of the links below.
Although I am particularly fond of the Aida recording from 1955 (the final duet borders on orgasmic), I have chosen an excerpt from the Act II duet in Ballo, recorded live, opening night at the Met in December, 1940.
Here is Lord Harewood’s take on Milanov and Björling in this recording:
Milanov...demonstrates the virtues of a Verdi soprano: a healthy middle octave and a glorious top underpinned by the breath control of an Olympic runner. Only some indecisive and placid musicianship stands between her and the ideal.The glory of the performance is Björling’s Riccardo, with his impeccable legato, brilliance of timbre, impetuous musicality, the embodiment of youthful ardor which, it seems to me, the music absolutely demands. The recording is excellent for the period, and if there were no other reason to recommend the set--and there are many--Björling’s elegant, stylish, radiant singing would be quite sufficient.
Links