Jussi Björling & Robert Merrill – Pearl Fishers Duet

When Merrill comes in at 0:27 its like chocolate. Also, It doesn’t even matter if you are expecting it, or how many times you’ve heard it; 1:45 will give you chills. If it doesn’t, you’d better check your pulse. The contrast of Bjorling’s soaring quality and Merrill’s richness at 2:20 is excellent.

Jussi Björling – O Holy Night

Come on Jussi. You’re killing me. Even the first few notes are just ridiculous. In a good way, of course. You can know that voice anywhere. He lets it rip at 1:12 and I’m loving it. This orchestration is much more sophisticated as well. I like the violins at 2:13. Violins always get good music. I am enjoying this is accompaniment a lot; the other was just a bel canto sort of arpeggiation figure. This is a bit more mature. He holds back on that note at 3:56 just to save it up for 4:20 and that’s why we love him.

Enrico Caruso – O Holy Night

I didn’t expect to find anything like this on here. Apparently it was originally in French. Caruso’s French sounds pretty good to me, but I don’t speak french so I wouldn’t be a good judge. This recording is excellent considering it is from 1916. I am a sucker for the music that starts around 3:16. Wish he would come to the church in my town on Christmas eve next year.

Joseph Schmidt – Tiritomba Sera jette

This song is an ear-worm if I ever heard one. Is that a common expression? I am not even sure. I had a teacher in high school that referred to the 4th movement of Beethoven 9 as an ear-worm. I mean that it gets stuck in your head easily. The held repeated notes, as around 2:05 are fun. How irritating! This one cuts out before the end as well.

Joseph Schmidt – Zigeunerlied

Zigeunerlied. Someone can correct me if I am wrong, but I think that’s “Gypsy song.” It sure sounds like one. I like music like this. Maybe its because I’ve played a lot of music like it on the violin. I get this dark oak color from this piece. Especially with those deep piano sounds. I like those little ornamental runs in the violin and clarinet (?) around and after 1:28. And I really like how at 2:11 he holds on a note and some low strings, I cant tell if it is celli or basses move up by step while he holds his note.  I wonder if gypsies got their slow-fast construction from the aria-cabaletta format or if it was the other way around. Just a warning, this aria cuts off before the end and its obnoxious if you’re not expecting it.