Kim Borg

Biography

Born: August 7, 1919; Helsinki, Finland   Died: April 28, 2000; Copenhagen, Denmark  
An elegant artist with a firm, though not particularly large bass baritone, Kim Borg was heard most effectively in recital. His Metropolitan Opera debut appearances as Count Almaviva did not show him to advantage, for the best part of his voice lay somewhat lower and, when pushed for volume, the instrument could take on a brittle quality. In the smaller houses of Europe and on the concert stage, however, he was a commanding presence. His singing Read more of the song literature, including the songs of Sibelius, was authoritative and finely nuanced and the frequent inclusion of one of Sarastro's arias demonstrated his resonant lower register and unfailing legato. Borg was also a composer of some note, having written two symphonies, a contemporary setting of the Stabat Mater, some chamber music, and a number of songs.

Borg's primary studies took place at Helsinki's Sibelius Academy, although he later undertook further training in Vienna, Rome, and even New York. After initially presenting himself as a concert singer, he entered the realm of opera in 1951 with a debut as Colline in Denmark. During that same period, he was engaged by Walter Legge for the role of Rangoni in a recording of Boris Godunov to be made with Boris Christoff. The success of that recording afforded Borg international recognition. Subsequently, he was engaged by the Glyndebourne Festival where his Don Giovanni was received in 1956 as well-sung, but far too severe. Similar misjudgments about the suitability of roles thwarted what might have been a more fruitful Metropolitan career. Nonetheless, Borg made himself welcome in Stockholm, where he became a member of the Royal Opera in 1960. Another positive relationship was forged with Hamburg, where he appeared frequently.

Borg's own Boris Godunov was a superb creation, one ideally tailored to his vocal gifts. In Europe, he confined himself largely to bass roles, including such deeper bass parts as Osmin, Baron Ochs, and Hagen. In 1980, Borg retired from the opera stage to concentrate on teaching at the Conservatory in Copenhagen, where he had become a professor of singing in 1972. During the years of his prime, Borg recorded often, most frequently song recitals and oratorios. Dvorák's Stabat Mater and Haydn's Creation are both worthy examples of his art. Read less

Biography

Born: August 7, 1919; Helsinki, Finland   Died: April 28, 2000; Copenhagen, Denmark  
An elegant artist with a firm, though not particularly large bass baritone, Kim Borg was heard most effectively in recital. His Metropolitan Opera debut appearances as Count Almaviva did not show him to advantage, for the best part of his voice lay somewhat lower and, when pushed for volume, the instrument could take on a brittle quality. In the smaller houses of Europe and on the concert stage, however, he was a commanding presence. His singing Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Verdi: Messa da Requiem - 1. Requiem
Verdi: Messa da Requiem - 2. Dies irae
Verdi: Messa da Requiem - 2. Tuba mirum
Verdi: Messa da Requiem - 2. Liber scriptus
Verdi: Messa da Requiem - 2. Quid sum miser
Verdi: Messa da Requiem - 2. Rex tremendae
Verdi: Messa da Requiem - 2. Recordare
Verdi: Messa da Requiem - 2. Ingemisco
Verdi: Messa da Requiem - 2. Confutatis
Verdi: Messa da Requiem - 2. Lacrymosa
Verdi: Messa da Requiem - 3. Offertorium
Verdi: Messa da Requiem - 4. Sanctus
Verdi: Messa da Requiem - 5. Agnus Dei
Verdi: Messa da Requiem - 6. Lux aeterna
Verdi: Messa da Requiem - 7. Libera me
Act I: Ha! Das gelang mir! (Angelotti)
Act I: Da sind die Pinsel! - Angelus Domini nuntiavit Mariae - Was tust du? (Messner, Cavaradossi)
Act I: Gib mir die Farben! (Cavaradossi)
Act I: Aria: Wie sich die Bilder gleichen (Cavaradossi, Messner)
Act I: Was gibt's da drinnen? (Cavaradossi, Angelotti, Tosca)
Act I: Mario! Mario! Mario! (Tosca, Cavaradossi)
Act I: Ach, di Augen! - Mit deinen Augen kann kein andres Auge sich messen (Tosca, Cavaradossi)
Act I: O Geliebte (Cavaradossi, Tosca)
Act I: Sehr gut zwar meint es Tosca - So ging sie? (Cavaradossi, Angelotti)
Act I: Frohe Neuigkeiten, Euer Gnaden! (Messner, Chorus)
Act I: Ein Tollhaus in der Kirche! Schone Wirtschaft! (Scarpia, Messner, Spoletta)
Act I: So also war es - Mario?! Mario?! (Scarpia, Tosca, Messner)
Act I: Ich kam hierher, das Herz voll zum Zerspringen (Tosca, Scarpia)
Act I: Drei Hascher mit einem Wagen ... Elig ... (Scarpia, Spoletta, Chorus)
Act II: Tosca als Falke! (Scarpia, Sciarrone)
Act II: Starker ist der Genuss noch - Spoletta wartet (Scarpia, Sciarrone, Spoletta)
Act II: Doch schon etwas - Er ist da (Scarpia, Spoletta, Cavaradossi, Tosca, Chorus)
Act II: Wo ist Angelotti? - Mario, du hier? (Scarpia, Cavaradossi, Spoletta, Tosca)
Act II: Wir aber plaudern hier als gute Freunde (Scarpia, Tosca)
Act II: Sciarrone, was sagt der Kavalier? (Scarpia, Sciarrone, Tosca, Cavaradossi)
Act II: Doch nun, Tosca, erklaret! - Mario! Erlaubst du zu reden? (Scarpia, Tosca, Cavaradossi, Spoletta, Sciarrone)
Act II: Geliebter! - Floria! (Tosca, Cavaradossi)
Act II: Im Brunnen bei der Villa! geh, Spoletta - Neuigkeiten, Euer Gnaden! - Viktoria! (Scarpia, Sciarrone, Cavaradossi, Tosca)
Act II: Soll die beschwor'ne Pflicht ich brechen einmal (Scarpia, Tosca)
Act II: Aria: Nur der Schonheit weiht' ich mein Leben (Tosca)
Act II: Siehe mit gefalteten Handen hier (Tosca, Scarpia, Spoletta)
Act II: Welche Route nehmt Ihr? (Scarpia, Tosca)
Act II: Tosca, endlich bist du mein! (Scarpia, Tosca)
Act III: Ach, meine Suefzer! (Hirte)
Act III: Mario Cavaradossi? Hierher! (Schiesser, Cavaradossi)
Act III: Cavaradossi verharrt in Gedanken
Act III: Aria: Und es blitzen die Sterne (Cavaradossi, Tosca)
Act III: Geleit fur Floria Tosca! (Carvaradossi, Tosca)
Act III: Die zarten Hande (Cavaradossi)
Act III: Wisse: Nah ist die Stunde (Tosca, Cavaradossi)
Act III: Nur deinetwegen wollt' ich noch nicht sterben (Cavaradossi, Tosca)
Act III: Und sie kommen nicht - Sprich einmal von dem kunftigen Schonen (Tosca, Cavaradossi)
Act III: Es ist Zeit! - Ich komme (Schliesser, Cavaradossi, Tosca)
Act III: Welche Umstandlichkeiten! (Tosca)
Act III: Aber jetzt, Mario! Mario! (Tosca, Spoletta, Sciarrone, Chorus)
1. Introitus: Requiem
2. Kyrie
3. Sequentia: Dies irae
3. Sequentia: Tuba mirum
3. Sequentia: Rex tremendae
3. Sequentia: Recordare
3. Sequentia: Confutatis
3. Sequentia: Lacrimosa
4. Offertorium: Domine Jesu
4. Offertorium: Hostias
5. Sanctus
6. Benedictus
7. Agnus Dei
8.Communio: Lux aeterna
1. Requiem
2. Dies irae
2. Tuba mirum
2. Liber scriptus
2. Quid sum miser
2. Rex tremendae
2. Recordare
2. Ingemisco
2. Confutatis
2. Lacrymosa
3. Offertorium
4. Sanctus
5. Agnus Dei
6. Lux aeterna
7. Libera me
1. Kyrie
2. Gloria
3. Credo
3. Credo (Cont.)
4. Sanctus
5. Benedictus
6. Agnus Dei
J.S. Bach: Mass in B minor, BWV 232 - Kyrie - Kyrie Eleison
J.S. Bach: Mass in B minor, BWV 232 - Kyrie - Christe eleison
J.S. Bach: Mass in B minor, BWV 232 - Kyrie - Kyrie eleison
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Gloria in excelsis Deo
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Et in terra pax
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Laudamus te
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Gratias agimus tibi
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Domine Deus
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Qui tollis peccata mundi
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Qui sedes ad dexteram Patris
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Quoniam tu solus sanctus
J.S. Bach: Mass in B minor, BWV 232 - Gloria - Cum Sancto Spiritu
J.S. Bach: Mass in B minor, BWV 232 - Credo - Credo in unum Deum
J.S. Bach: Mass in B minor, BWV 232 - Credo - Patrem omnipotentem
J.S. Bach: Mass in B minor, BWV 232 - Credo - Et in unum Dominum
J.S. Bach: Mass in B minor, BWV 232 - Credo - Et incarnatus est
J.S. Bach: Mass in B minor, BWV 232 - Credo - Crucifixus
J.S. Bach: Mass in B minor, BWV 232 - Credo - Et resurrexit
J.S. Bach: Mass in B minor, BWV 232 - Credo - Et in Spiritum Sanctum
J.S. Bach: Mass in B minor, BWV 232 - Credo - Confiteor unum baptisma
J.S. Bach: Mass in B minor, BWV 232 - Credo - Et expecto resurrectionem
J.S. Bach: Mass in B minor, BWV 232 - Sanctus - Sanctus
J.S. Bach: Mass in B minor, BWV 232 - Sanctus - Osanna in excelsis
J.S. Bach: Mass in B minor, BWV 232 - Sanctus - Benedictus
J.S. Bach: Mass in B minor, BWV 232 - Sanctus - Osanna in excelsis
J.S. Bach: Mass in B minor, BWV 232 - Agnus Dei - Agnus Dei
J.S. Bach: Mass in B minor, BWV 232 - Agnus Dei - Dona nobis pacem
1. Quartetto e Coro "Stabat mater dolorosa"
2. Quartetto "Quis est homo, qui non fleret"
3. Coro "Eia mater, fons amoris"
4. Basso e Coro "Fac ut ardeat cor meum"
5. Coro "Tui nati vulnerati"
6. Tenore e Coro "Fac me vere tecum flere"
7. Coro "Virgo virginum praeclara"
8. Duo "Fac ut portem Christi mortem"
9. Alto "Inflammatus et accensus"
10. Quartetto e Coro "Quando corpus morietur"


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