Saint-Saens: Samson Et Delila [Import]
Editorial Reviews
Album Details
This Classic Recording of One of the Greatest of French Operas is Restored to the Catalogue after Not Being Available for Several Years.
Saint-Saens: Samson Et Delila, Music, Carreras, Baltsa, Summers, Estes, Davis, Symphonieorchester Des Bayerischen Rundfunks, Camille Saint-Saens, Colin Sir Davis, Classical
Average customer rating: 
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Saint-Saëns - Samson Et Dalila
Manufacturer: Walhall ProductGroup: Music Binding: Audio CD  Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
| Cantatas
| Romances
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
ASIN: B000NQ1TTM |
Product Description
26. February 1955 Teatro di San Carlo recording. No libretto included, just a track listing. Cast: Ramón Vinay (Samson); Ebe Stignani (Dalila); Antonio Manca-Serra (High Priest); Giovanni Amodeo (Abimélech); Iginio Riccò (Old Hebrew); Piero de Palma (Philistine messager)
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Saint-Saëns: Samson et Delila/ Prêtre, Vickers, Gorr
Saint-Saens , Pretre , and Paris Opera Orchestra Manufacturer: Capitol ProductGroup: Music Binding: Audio CD General
| Opera & Vocal
| Styles
| Music
General
| Classical
| Styles
| Music
ASIN: B000006DDB Release Date: 1990-10-25 |
Customer Reviews:
Vickors and Gorr seduce you with this recording..........2000-10-30
Despite todays array of fine tenors including Domingo, Leech, Cura and Hadley, (several who HAVE recorded this opera) I cannot possibly imagine a recording done as well as this 1963 Gorr/Vickers offering.
Under the superb direction of Georges Pretre, tenor Jon Vickers leaves no doubt why his legacy has and will, endure for years to come. His is a Samson of fire, passion and sorrow beyond comprehension. The voice has some lovely features; gorgeous tonal quality, exemplary control and the largeness of sound to incite Samson's fury. His helden tenor can also bend to the sensuality of the Saint-Saens score, depicting this great French work with total finesse and a realization of a beauty and pathos not equaled in the Verismo school.
Listen to Vicker's command of the vocal line in his Act I 'Arretez, o mes freres!' No wonder the Hebrews stop and take notice! This voice could deliver anyone out of a sorrowful bondage! His agony in not wanting to love Dalila is beautifully played out vocally. The 'En ces lieux, malgre` moi..' of Act II is only a prelude to his marvelous vocal seduction of Dalila's 'Mon coeur...'
It is, however, his desolation in Act III when he sings, 'Vois ma misere, helas! vois ma detresse!' that vanishes all other contendors in this role. Vickors 'acts' with his voice and we are smitten and silenced by its beauty and total commitment to the role.
Rita Gorr was unfortunately under used at the Met and also on recordings. How lush and velvet a tone! The registers are completely even with no breaks or audible 'adjustments' that other mezzo's have to make between head and chest voice. Likewise, her Dalila is unequaled on recording; her grasp of the French school, impeccable. Certainly a highlight is the wonderful trio in Act I, 'Je viens celebrer la victoire.'
Gorr's anguish and frustration at capturing Samson's heart is climaxed by a vocally orgasmic 'Mon coeur s'ouvre a ta voix.' Purity of line as well as a gorgeous warm golden tone seduce her listener as well. Bring in Vickor's for the final 'je t'aime' and we have experienced a perfect reading of Saint-Saen's work.
Not to be over looked are Ernest Blanc as the High Priest and Anton Diakov as Abimelech. Blanc has one of those rare voices, combining a dark rich tone with a marvelous expressive quality. Diakov manages his role with gusto as well, secure vocally and adept in his interpretation of the role.
The opera would be void without this exceptionally fine chorus under the direction of Rene` Duclos. Saint-Saen's has given us some of the most beautiful and moving choral sections ever to appear in an opera and this recording delivers on all accounts.
Maestro Pretre evokes a moody and colorful palette from the Orchestre du Theatre National de l'Opera de Paris. Pay close attention to the simple but ever building overature with the repeated bass chord. Thrilling.
When this CD is out, don't walk but run to your nearest shop and pick this up. Not only will it help you to understand the simplicity and complexities of the French school, you will hear two singers who at their peak, will probably never be equalled in our lifetime.
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