Jussi Björling 1911-1960

Jussi Björling, ténor lyrique suédois, fut l’un des plus beaux timbres vocaux du XXème siècle, particulièrement admiré dans les opéras italiens et français.

Johan Jonathan Björling est né à Borlänge, en Suède, le 5 février 1911. Borlänge est une petite ville située au nord ouest de Stockholm dans le comté de Dalarna. C’est sa grand-mère finlandaise qui lui attribua le prénom de Jussi. Il fut élevé dans une famille de musiciens et très jeune, Jussi et ses deux frères reçurent de leur père David, ténor et professeur de chant, une solide formation musicale et vocale. 

Björling à l’âge de 18 ans

David Björling (1873-1926) constitua avec ses enfants le Quatuor Björling. Jussi commença à y chanter à l’âge de quatre ans et demi et les concerts se succédèrent, notamment dans les églises partout en Suède. Ces tournées en Suède durèrent 11 ans, et le Quatuor familial donna environ 900 concerts. Ils chantaient bien sûr en Suédois, mais aussi en allemand, en italien, en français, en anglais. A l’âge de 15 ans, Jussi Björling était déjà un chanteur chevronné, presque un vétéran! 

David Björling décida de donner un coup d’accélérateur à la carrière de son quatuor familial et de partir hors de Suède. Et ce fut le départ avec ses enfants pour les Etats-Unis en 1919. Au total, ils donnèrent en Amérique plus de 100 concerts et procédèrent même à des enregistrements. La voix de ce garçon de 15 ans avait évolué mais gardé cette clarté de cristal, ce fameux “cristal triste”.

Le «Quatuor Björling». On reconnait le père, David Björling (en haut), et le jeune Jussi, en haut à droite.
Jussi Björling dans Tosca

David Björling est décédé en 1926, entraînant la dissolution du quatuor et, en conséquence, Jussi a trouvé du travail comme vendeur de lampes à Ystad. Il entra à l’École royale d’opéra de Suède alors dirigée par le baryton John Forsell qui fut un maître sévère mais également son protecteur. Il lui fit donner un premier petit rôle en tant que Lamplighter dans Manon Lescaut à l’Opéra Royal de Suède le 21 juillet 1930. Cela fut bientôt suivi par son premier rôle officiel comme Don Ottavio ( Don Giovanni) le 20 août 1930, alors qu’il n’avait que 19 ans, avec son professeur John Forsell comme partenaire. Il chanta ensuite Arnold (Guillaume Tell) le 27 décembre et Jonatan dans Saul et David de Carl Nielsen le 13 janvier 1931. Cela lui permis d’obtenir un contrat avec le Royal Swedish Opera, où il tiendra 53 rôles jusqu’en 1938. Parmi les rôles qui lui furent confiés on peut citer: Erik (Le vaisseau fantôme), Almaviva (le barbier de Seville), le duc (Rigoletto), Wilhelm Meister (Mignon), Faust, Vasco Da Gama (L’Africaine), Rodolfo (La bohème), Tonio (La fille du régiment), Florestan (Fidelio) et Belmonte (Die Entführung aus dem Serail). Il fut le premier suédois à faire Dick Johnson (La fanciulla del West), Luigi (Il tabarro), Elemer (Arabella) et Vladimir (Prince Igor) avec Fedor Chaliapine en 1935.

Jussi Björling dans Rigoletto

Commença alors une carrière hors de Suède, bien qu’il ne rompra jamais ses liens avec Stockholm. En juillet 1931, il donna un récital au Tivoli de Copenhague et dans les années 1936-1937 il chanta à Vienne, à Prague, Berlin, Dresde et Nuremberg. Puis en 1937, en route pour les Etats-Unis, il s’arrêta à Londres (Il Trovatore) et donna son premier récital au Royaume Uni. Il donna ensuite des récitals aux Etats-Unis, notamment à la radio, dont trois depuis le Carnegie Hall sous l’égide de General Motors!  Puis ce fut Rigoletto et la Bohème, à l’Opéra de Chicago, et en 1938 La Bohème au Metropolitan Opera de New-York, y faisant ses grands débuts, poursuivis à San Francisco et Chicago. En décembre 1940, Arturo Toscanini l’invita à chanter la partie de ténor de la Missa solemnis de Beethoven à New-York, dont subsiste un enregistrement. Björling a également interprété le Requiem de Verdi dirigé par Toscanini en 1939 à Lucerne, en Suisse, et en novembre 1940 à New-York.

La guerre a limité ses apparitions à l’Europe. En 1940 il ouvrit la saison du Metropolitan de New-York, pour la première fois, dans une production du Bal Masqué. Il chanta pour les Opéras de Copenhague, Helsinki et Budapest et fit ses débuts italiens au Teatro Comunale de Florence, en 1943, dans Il trovatore.

Jussi Björling en studio d’enregistrement

Après la guerre, Björling revint aux États-Unis et chanta souvent au Metropolitan Opera, notamment Il trovatore, Rigoletto, Aida, Un ballo in maschera, Cavalleria rusticana, Faust, Roméo et Juliette, La bohème, Madama Butterfly, Tosca et Manon Lescaut. Il chanta Don Carlo pour l’ouverture de la saison 1950-1951, mais ses relations avec Rudolf Bing étant tendues, il fut absent pendant quelques saisons au milieu des années 1950. Pendant ce temps, Björling travailla avec d’autres compagnies d’opéra américaines comme le Lyric Opera de Chicago et le San Francisco Opera.

Il chanta à la Scala de Milan dans Rigoletto en 1946 et dans Un ballo in maschera en 1951. Ses débuts à Paris prévus en 1953 furent annulés, et à l’exception des récitals au Royaume-Uni, de certaines représentations en Yougoslavie, en Allemagne de l’Est et en Afrique du Sud en 1954, Björling s’est rarement produit en dehors de la Scandinavie et des États-Unis.

À l’été 1954, Björling enregistra Manon Lescaut à Rome avec Licia Albanese comme Manon, et, en 1955, il enregistra le rôle de Radames (Aida) aux côtés de Zinka Milanov dans le rôle-titre. Avec Victoria de los Ángeles et Robert Merrill, Björling a réalisé un enregistrement très admiré de La bohème de Puccini dirigé par Sir Thomas Beecham. L’enregistrement de Madame Butterfly par Björling, avec de los Angeles dans le rôle-titre et dirigé par Gabriele Santini, fut aussi largement plébiscité.

Björling en séance d’enregistrement

Dans la biographie de Victoria de los Angeles par Peter Roberts (Weidenfeld & Nicolson, 1982), de los Angeles note que «Malgré les développements techniques, aucun des enregistrements de Jussi Björling ne nous donne le vrai son de sa voix. C’était de loin, la plus belle voix que l’on peut entendre». Björling a chanté le rôle de Mario Cavaradossi dans l’enregistrement stéréo complet de Tosca en 1957, enregistré par RCA Victor à Rome sous la direction d’Erich Leinsdorf. Le ténor a reçu le Grammy Award de 1959 de la meilleure performance classique pour son album de récital RCA Victor, Björling in Opera. En 1956, il participa à un épisode de l’anthologie de la télévision NBC Producers Showcase. L’épisode était l’un des deux programmes intitulé Festival of Music, animé par Charles Laughton. Björling peut y être vu avec la soprano Renata Tebaldi dans deux airs de La bohème. Les deux programmes du Festival of Music, initialement diffusés en couleur, sont depuis sortis sur DVD en noir et blanc. L’un de ses derniers enregistrements fut le Requiem de Verdi dirigé par Fritz Reiner pour RCA Victor qui a été enregistré en juin 1960 avec Leontyne Price, Rosalind Elias, Giorgio Tozzi, l’Orchestre philharmonique de Vienne et le chœur de la Gesellschaft der Musikfreunde.

Björling et son épouse Anna Lisa
Jussi Björling, son épouse Anna Lisa et leur fille Anne-Charlotte

Jussi Björling avait épousé Anna Lisa Berg (1910-2006), elle-même soprano. Ils eurent trois enfants. L’un d’eux Rolf, fut aussi ténor et mena une assez belle carrière (mais pas au niveau de son célèbre père). Anne-Charlotte fut également chanteuse d’opéra.

Björling et Rosanna Carteri dans La bohème, le 9 mars 1960 à Covent Garden

Ses dernières années de carrière furent assombries par des problèmes d’addiction à l’alcool. Le 15 mars 1960, il eut une crise cardiaque avant une représentation de La bohème à Covent Garden. Il insista pour chanter, malgré son état. Il fit ensuite une courte tournée américaine, et fit sa dernière performance lyrique dans le rôle de Faust à San Francisco le 1er avril 1960, et donna un dernier récital à Skansen, Stockholm, le 20 août 1960 (trente ans jour pour jour après ses débuts officiels). Il est décédé des suites d’une insuffisance cardiaque, pendant son sommeil, sur l’île de Siarö, le 9 septembre 1960 à l’âge de 49 ans. Sa veuve, Anna-Lisa Björling, a publié une biographie avec la coopération d’Andrew Farkas qui décrit Björling comme un père de famille aimant et un collègue généreux. Cependant, Anna-Lisa n’a pas tenté dans le livre de cacher l’influence destructrice de l’alcoolisme chez Björling.

Il est enterré dans le cimetière de l’église de Stora Tuna, Borlänge, Suède.

Jussi Björling et sa famille

Le prix Gröna Lund Jussi Björling fut créé en 1963 par le parc d’attractions de Stockholm où Björling a souvent chanté. Le Jussi Björlings Minnesstipendium (Jussi Björlingstipendiet) fut créé en 1970 et est administré par Stiftelsen Kungliga Teaterns Solister (The Royal Opera Soloists Foundation) à Stockholm. La salle de récital Jussi Björling a été inaugurée au Gustavus Adolphus College, à St. Peter, Minnesota, en 1970. La Jussi Björling Tenor Competition a eu lieu à Borlänge en 1994; 125 ténors de 38 pays y ont participé et le vainqueur a été le chinois Deng Xiao-Jun. Un musée Jussi Björling a été inauguré à Borlänge en 1994. Le nom de Björling est maintenant utilisé pour la prestigieuse bourse de musique Jussi Björling au Gustavus Adolphus College de St. Peter, Minnesota. Des archives de presque toutes les performances enregistrées de Björling, des photographies, des lettres, des programmes de récital et d’opéra, des critiques, des nécrologies et d’autres articles liés à sa carrière sont conservées à la Jacobs School of Music de l’Indiana University Bloomington. 

Au cours de sa vie, Björling a reçu de nombreuses décorations, citoyenneté d’honneur et autres compliments de monarques, de gouvernements et d’organisations culturelles et caritatives en Suède, en Finlande, au Danemark, en Islande, en Lettonie, en Belgique, en Grèce, en Hongrie et aux États-Unis.

Tombe de Jussi Björling

Acteur plutôt statique, Björling s’imposait par sa voix. Il fut un chanteur à la technique extrêmement accomplie, brillant dans les aigus, noble et mesuré dans l’émission, capable de se plier aux plus fines nuances et de se lancer avec impétuosité dans les passages les plus dramatiques. Sa voix avait un timbre très original, chaud, doré et opalisant, toujours instantanément reconnaissable. Cet homme, petit et bien planté, au beau visage et aux yeux clairs et tristes, était, d’après André Tubeuf, «une colonne de son», et d’après Walter Legge, fondateur du London Philharmonia Orchestra, producteur de disques chez EMI, Björling était «une voix à la couleur d’or, qui résonne comme aucune autre dans le monde». Il fut notamment remarquable dans Mozart, les opéras italiens et le répertoire français qu’il affectionnait tout particulièrement.

Luciano Pavarotti, dans une interview accordée au quotidien suédois Svenska Dagbladet en 1988, a déclaré: «Quand je suis sur le point de travailler un nouvel opéra, j’écoute d’abord comment Jussi Björling l’a chanté. Sa voix était unique et c’est son chemin que je veux à suivre. Je souhaiterais plus que tout autre chose que les gens me comparent à Jussi Björling. C’est comme ça que je m’efforce de chanter». 

Il fut l’une des plus grandes voix du XXème siècle, voix triste aussi d’une âme insatisfaite et tourmentée. Il avait aussi connu et admiré Mario Lanza, autre âme tourmentée, mort un an avant lui, et ils avaient au moins un ami commun, le grand baryton Robert Merrill, qui, lui semblait-il, exprimait la joie de vivre ! 

Jussi Björling

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