Saint-Saëns: Samson et Dalila / Domingo, Meier, Chung

Artist: Camille Saint-Saëns , Myung-Whun Chung , Plácido Domingo , Waltraud Meier , Orchestre et choeurs de l'Opéra-Bastille , Jean-Philippe Courtis , Samuel Ramey , Alain Fondary , Daniel Galvez-Vallejo , François Harismendy , and Christian Papis
Label: Angel Records
Category: Music

Average customer rating:

Media: Audio CD
Number Of Discs: 2

UPC: 077775447026
EAN: 0077775447026
ASIN: B000002RSS

Release Date: 1993-02-16

Related Categories:

General

Ramey, Samuel

General

| Classical | Styles | Music

Romances

General

| Opera & Vocal | Styles | Music

French

| Languages | Opera & Vocal | Styles | Music

Listmania:

Rufus Wainwright: "Born Into Popular Music, Weaned on Opera"
Wonderful Waltraud Meier
The neglected Saint-Saens
Opera I Recommend
My favorite operas
Essential Placido Domingo CDs

Tracks:

Dieu! Dieu d'Israel! Ecoute La Priere
Un Jour, De Nous Tu Detournas La Face
Arretez, O Mes Freres! Et Benissez Le Nom
L'as-tu Donc Oublie, Celui Don't La Puissance
Qui Donc Eleve Ici La Voix
C'est Toi Que Sa Bouche Invective
Que Vois-Je? Abimelech!
Seigneur! La Troupe Feuriuse
Hymne De Joie, Hymne De Delivrance
Voici Le Printemps Nous Portant Des Fleurs
Je Viens Celebrer La Victoire
Danse Des Pretresses De Dagon
Printemps Qui Commence

Tracks:

Prelude
Samson, Recherchant Ma Presence
J'ai Gravi La Montagne
Qu'importe A Dalila Ton Or?
Il Faut, Pour Assouvir Ma Haine
Samson, Me Disais-Tu, Dans Ces Lieux
En Ces Lieux, Malgre Moi
Qu'importe A Mon Coeur Desole
Mon Coeur A S'ouvre A Ta Voix
Mais!...Non! Que Dis-je?
Vois Ma Misere, Helas! Vois Ma Detresse!
L'aube Qui Blanchit Deja Les Coteaux
Bacchanale
Salut! Salut Au Juge D'Israel!
Laisse-moi Prendre Ta Main
Allons, Samson, Divertis-nous
Viens, Dalila, Rendre Grace A Nos Dieux
Guidez Mes Pas Vers Le Milieu Du Temple

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Berg: Wozzeck
Saint-Saens: Introduction and Rondo capriccioso in Am; Danse macabre Op40
Modest Moussorgsky: Boris Godounov (1869 Version & 1872 Version) - Valery Gergiev / Kirov Opera & Orchestra
R. Strauss: Elektra

Customer Reviews:

The Premiere Samson Recording.......2006-03-11

Plácido Domingo [Samson] ** Waltraud Meier [Dalila] ** Alain Fondary [High Priest of Dagon] ** Jean-Philippe Courtis [Abimelech] ** Samuel Ramey [An Old Hebrew] ** Christian Papis [A Messenger] ** Daniel Galvez Vallejo [First Philistine] ** François Harismendy [Second Phillistine]* Orchestra De L'Opera Bastille,* Myung-Whung Chung conductor

This early 90's EMI recording of Samson Et Dalila, one of the few French "grand operas" of 19th century Paris Opera to remain popular to this day, is possibly the greatest studio recording you are likely to find, thanks to the talents of the principal singers, its conductor and orchestra. In the course of two hours that go by rather quickly, a powerful Biblical drama is recounted and it sure packs a powerful punch, particularly in the climatic finale in which Samson, betrayed by Dalila, is blinded and chained to a wall which he later tears down with his own hands over the partying pagan Phillistines. The other recordings on the market have their individual flaws- James King sang Samson opposite Christa Ludwig in what was then the first studio recording of the work but neither voices are suited to this kind of opera since both King and Ludwig have primarily dramatic Wagnerian voices and their French is faulty. Agnes Baltsa and Jose Carreras sing with accurate diction and spin out beautiful lyric phrases but they don't sizzle or make a powerful impression. This is Domingo's second recorded Samson, the first was with Elena Obrazstova, whose Russian/Slavic, "Italian" trained overly dramatic interpretation doesn't make for a good Dalila despite her efforts, eventhough Domingo in younger voice is heroic and powerful.

Here, however, he is mannered and more in control, has a darker, edgier voice and is still as powerful as his earlier performance. Domingo lived all his role and Samson was no exception. He appears in a filmed production at the San Francisco Opera opposite a formidable Dalila- Shirley Verrett. Domingo's years of experience make this late recording a satisfying account in many levels. Fist, he has a command for the French diction, and this I say even in the faces of those critic's comments which state he never understood the French lyric repertoire as he did the Italian. He IS a superb French tenor, his Spanish blood does not detract from a powerful performance one bit. I urge his detractors to listen with unbiased ears to Domingo's accounts of Gounod's Romeo Et Juliette, Carmen, Faust, L'Africaine, Manon, Herodiade and Le Cid. He had a number of French operas under his belt by the time of this recording and he proves his tenor voice transcends all languages in opera. Furthermore, he lives the role. He is convincing as a Hebrew Hercules, masculine, spiritual, heroic but weak when it comes to women- women like the number one Biblical temptress Dalila. His duet with Waltraud Meier after the "Mon Couer" is very moving and this slow passionate moment is a relaxing one pitched against the intensity of the drama. Domingo steps up his dramatic singing in the final scenes. Ashamed, defeated (and this you can tell from his singing voice) he is chained to a pillar and made fun of by the cruel Philistines. His voice picks up energy and heft when he finally gets the strength to destroy his foes, to his own death. Domingo is without a doubt the best looking Samson and the best singing Samson. Perhaps, if Jon Vickers sang the role, he did so in a more dramatic Wagnerian manner which is also very appropriate but I have no idea if Vickers sang or even recorded the role. Until I find out, Domingo is the best Samson for me.

Waltraud Meier, a German soprano who garnered fame in the 80's as a primarily lyric soprano, steps up her own level of singing as Dalila, the perfect foil to Samson. Meier has a pretty voice, there is no doubt about that, even for a mezzo-soprano (traditionally the "uglier" voice next to the soprano voice; and whose roles include witches, bitches, old matrons or femme fatales). Meier's early repertoire included Mozart (Despina in Cosi Fan Tutte, Dona Elvira in Don Giovanni) but later she added Wagner to her resume - Venus in Tannhauser and even the role of Isolde. She acquired a more dramatic voice so that by the time of this recording, she was more in control and in mature voice. Consequently, her Dalila is the best on record. She lives her role, too, and has genuine chemistry with Domingo. Her account of the first part, in which her job is just to seduce Samson, she handles well. Her "Recharce Ma Presence" and "Mon Couer" are terrific and not overblown. But it at the last part of the opera where she truly shines. She is cruel, haughty and even imperious. It was probably to her advantage that Saint-Saens wrote the music to the opera to sound a tad like Wagner opera. Every music scholar knows that. While not overtly Wagnerian, this opera has moments of dissonance contrasted with pure beauty, dramatic outbursts and severe fatalism, the one thing Wagner was known for. Bizet's Carmen used the same kind of music. Therefore, in that one moment when Samson and Dalila argue after Dalila has declared her betrayal (Samson has told her the secret of his strength lies in his hair and she cuts it) that scene is sung and orchestrated as if it were the same argument scene in Carmen between Don Jose and Carmen. It may be the Bastille Opera orchestra or Chung's conducting but the opening scene of the opera- the Hebrew Chorus- prompted a friend of mine who works at a music store to claim that the music to that is greater than anything Wagner ever wrote. A pretty big claim but surely he was right on the money regarding the grandeur and virtuosity of this particular account on this recording.

The Chinest conductor Chung truly worked miracles with the music here, providing color and character, exoticism and tension. The Bacchanale is a beautiful account and the finale is riveting and even heartbreaking. Chung also conducted a superb score to Verdi's Otello in the last recorded Otello by Domingo which he sung opposite Cheryl Studer's Desdemona. That recording is largely considered the best and Domingo's best. Chung had a special rapport with Domingo and we get the same kind of magic and power in this recording. It does feel like it is rushed but it is not detrimental to the dramatic stregth of the recording.

Placido Domingo And Waltraud Meier Sizzle.......2005-11-29

This 90's EMI recording of Saint-Saens' most famous operatic work Samson et Dalila, still a popular opera in most companies, stars Placido Domingo and mezzo soprano Waltraud Meir. They are both mature, lyrically resplendent singers who not only sing beautifully and with gusto, but live their characters as well. Certainly, Domingo knew how to live each of his roles. Singing in his later years, his voice is dark, masculine, still lyrically strong and his high register is still above the staff and above the orchestra. His French diction is superb. As Samson, he seems to take on a Wagnerian hero approach. Samson, a Hebrew Old Testament version of Hercules, is a man whose heart is in the right place and attempts to save his people from the wicked pagan Phillistines. His one weakness: the beautiful and seductive Dalila. The true measure of a great Samson et Dalila lies in the vocal prowess of the lead tenor and mezzo, not to mention a good conducting of the score. While Chung may not be an especially striking conductor, this recording is blessed with the talents of Domingo and Meier. Meier is acclaimed for her Wagner (Isolde, Bragaine) and her Mozart repertoire (Despina, Elvira, Cherubino) her voice is strong in the middle register and velvety in the higher register. She is an appropriately seductive and sensual Dalilah, though I would also have enjoyed Grace Bumbry or Shirley Verrett, if both these singers could have for once been pulled out of retirement to sing opposite Placido's excellent Samson. This is a fine recording with great moments. Even the wonderful Samuel Ramey sings a particularly brilliant High Priest. I recommend you listen to the following highlights- the opening chorus, Samson's arias (all of them) and Dalilah's "Samson, Recharce Ma Presence", an unbeatable rendition on this recording.

Beautifully sung but bland in comparison to past recordings.......2005-02-13

"Samson et Dalila" was originally conceived as an oratorio but it was refashioned as an opera before its first performance. To some opera fans, that oratorio attachment is an indelible stain. Of all operas, this one is probably most criticized for its static nature. However, consider the plot. In Act I we find rebellion, murder and cries for revenge. Act II has conspiracy, seduction and betrayal. Into Act III is crammed despair, redemption, ballet, rollicking pagan religious services and, finally, triumphant annihilation. And, oh, yes, along the way is some of the most memorable music ever written for the mezzo voice. As Basil Fawlty might ask, what more do you want, herds of wildebeest racing across the plains with Krakatoa exploding in the distance?

For comparison, I spent a day listening to this and two other complete versions of the opera, a live performance from Amsterdam with Jon Vickers and Oralia Domingues and the first full-length recording with Jose Luccioni and Helene Bouvier, dating from 1946.

Luccioni combines full commitment with a strong dramatic tenor voice. Vickers gives even more intensity in a vast out-welling of his darkly shaded voice. Domingo sings with a beautiful, full sound, too, but by comparison with his two predecessors he seems dramatically uncommitted, even bland.

Oralia Dominguez, the great Verdi mezzo, easily holds her own against the blazing performance of Vickers. In addition to Bouvier and Meier, I also compared her with Dalila's arias as recorded by the contemporary star, Olga Borodina. I'd hazard that Bouvier had the smallest voice among the four, best in the middle of her range, and showing distinct differences in coloration when pushed to the very top or bottom. For all that, she found her way fully into the character of Dalila and offered dramatic precision with each note. Domingues, with a bigger, fuller voice, was as effectively in character as Bouvier. Of the four, Domingues sounds the oldest, but by no means elderly. To my mind, Dalila is not in the first blossom of youth, but rather someone entirely more sophisticated and exotic. Dominguez works for me. Meier, also larger of voice than Bouvier and in better vocal control than either of her predecessors, sounds bland by comparison. Like the otherwise admirable Domingo, she seems one step away from Dalila, commenting on her, rather than being her. On her recital disc, Borodina shows control to equal Meier's and dramatic sensibilities midway between Meier and Dominguez. (Alas, I do not have a recording of Borodina's 2001 Dalila, when she all but blew me out of my seat at the San Francisco Opera.)

As a resident of Western Canada, I am no judge of French accents, but those whose judgment I trust inform me that neither Vickers nor Dominguez are exactly Parisian, nor are Domingo, Meier or Borodina. Bouvier and Luccioni, on the other hand, are said to be dead-on perfect.

Alain Fondary plays the High Priest of Dagon on the Domingo/Meier set. He is adequate and forgettable. On the Amsterdam performance, the High Priest was that French stalwart, Ernest Blanc. He is always good in everything, but never the best. Paul Cabanel, who was nearly sixty in 1946 and would be making recordings for at least another six years, simply overwhelms his competitors.

The Amsterdam conductor, Jean Fournet, was a major figure in the French repertory in the years straddling World War II. Of the conductors of the three complete versions I compared, he was the undisputed winner when dealing with the music for Samson's scenes, especially in Act I, where he emphasized the bumptious and rhythmic qualities of the orchestration. He was the only one of the three to bring the final bars of the opera to a climactic thump commensurate with the collapse of a temple. As for the ballet music and the tauntingly jolly duet of Dalila and the High Priest in Act III, Louis Fourestier of 1946 is the one to hear. Myung-Whun Chung sounds--you guessed it--bland in comparison with either conductor.

This is an admirable recording of "Samson et Dalila," probably the best available in contemporary sound. To those for whom that is the major consideration, I recommend it wholeheartedly. On the other hand, in terms of overall performance, it pales in comparison with its older rivals. For that reason, I give it four stars.

Meier & Domingo sizzle!.......2000-02-29

This is one of the best opera CDs ever. Plain and simple. You get the legendary Placido Domingo as Samson and the ravishingly seductive Waltraud Meier as Dalila. If you've never heard her before (or even if you have), this is your chance to hear the most erotic and sensual Dalila that you'll ever hear. Her French is unbelievably beautiful - - a very good language for her. And her tone is absolutely perfect as she finds emotions that other singers fail to express. The intelligence and fire of this performance make it well worth your investment.

The best Samson ever........2000-01-06

Samson & Delila has not been that lucky on records. The classic Vickers/Gorr recording is marred by Georges Prete's boring conducting and by a restricted sound recording. Not much can be said of later sets: Baremboim has a Boris Godunov instead of a Delila in Elena Obraztsova (a classic DG mistake of vocal casting); Christa Ludwig and James King are not very exciting in Giuseppe Patane's 1973 recording, and Carreras and Baltsa won't burn the house down either. But as so often in French opera, EMI had a great cast, a great conductor and they recorded the opera. From the very beginning, the orchestra alerts you that this is not going to be an oratorio-like reading. Myung Whun-Chung unfolds the drama with lethal imagination, and lets you hear wonderful things in this great score. By quite a distance, this is the best conducted Samson in the catalogue. Domingo in very good voice, is a noble hero, but it is the devastatingly erotic Delila of Waltraud Meier who steals the show. What a terrific performance! Sung in perfect French and in a velvet voice, no other mezzo who has recorded the role, even comes close. EMI sound picture is admirable, the more I hear this recording, the more I like it!

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