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Subject: Re: Dallas Samson and Dalila
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Mon, 23 Oct 2017 22:50:49 +0000
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Hi Paolo

It was 1965, and there was a tape from the Detroit performance
which I owned for many years. It was never transferred to CD as
far as I can tell. She was, as always, magnificent, even nearing the
end of a fabled career, and the long line and repose were the stuff
of legend. The middle voice, very prominent in this music, was
less than one might have wanted, but the vocalism was as good as
this role has known in my lifetime. The sound was pretty good, and
I have often wondered why it was never transferred to CD.

Or was it?

P.S. She sang it on tour but never at the Met, to my eternal regret!

Bob

On Mon, Oct 23, 2017 at 18:25 Paul Ferraro <[log in to unmask]> wrote:

> THE live performance of S&D to search for (IF available in at least
> decent sound) is a 1964(?) Met tour from Cleveland w/Vickers &
> Simionato.  Thus far, it is as elusive as Rysanek's Turandot & the
> Callas/Bjoerling Trovatore (drat).
>
> paolo
>
>
> On 10/23/2017 12:32 PM, tom ponti wrote:
> > I very much agree with this opinion about S&D. It certainly contains one
> of the great roles for a mezzo, IMO,  and wonderful roles for tenor and
> baritone. Last night I listened to a performance with Vickers and Oriala
> Dominguez on You Tube. They did not say where or what year this live
> performance took place. Vickers was thrilling, she was wonderful and a bit
> more reserved than on the Mexico City Aida but still exciting. I loved her
> Mexico Amneris, as the whole cast was wonderfully over the top in that
> performance. At times, she almost sounded like a soprano which led me to
> think, that despite her strong NO when asked if she would ever perform the
> role, Crespin could have been a great Dalila? Callas does a great job with
> Dalila's arias on her French Album, and I think Crespin had a richer middle
> and lower register than Maria did.
> >
> >
> > ________________________________
> > From: Discussion of opera and related issues <[log in to unmask]>
> on behalf of G. Paul Padillo <[log in to unmask]>
> > Sent: Monday, October 23, 2017 12:01 PM
> > To: [log in to unmask]
> > Subject: Re: [OPERA-L] Dallas Samson and Dalila
> >
> > Those who find my taste pedestrian are sure to feel even more superior
> upon my admission
> > that I adore Saint Saens’ opera.  Perhaps a bit of childhood
> sentimentality factors in, but I
> > have always found it – as the story inspiring it – to be exciting drama.
> >
> > More sophisticated opera lovers dismiss Samson with charges of “it’s an
> oratorio – even the
> > composer called it that,” which is not true.  The composer’s own
> correspondence mentions
> > his intent to write a Samson oratorio, but the librettist convinced him
> to create an opera,
> > and that was what they did.  Only in England was it, because of a ban on
> operas based on
> > Bible stories, forced to be presented in concert form.
> >
> > The premiere in Weimar was a huge success, critically and popularly, and
> while it took
> > several more seasons before appearing in France, once it did, Samson and
> his gal pal began
> > appearing at major houses all over the world to general enthusiasm from
> all.
> >
> > I’ve always been taken by Samson’s structure, particularly its opening
> sequence which, to
> > me, feels similar to a great musical – brief orchestral introduction
> seamlessly seguing into a
> > chorus which leads into the introduction of the hero, then the enemies
> ending in a sort of
> > “call to arms” if you will.  This seldom fails to thrill me and nicely
> sets up the rest of the
> > opera which, for me is chock full of gorgeous music.  While the
> Bacchanal may not be the
> > most inspired or sophisticated (?) music, it does do its job
> provocatively, and brings down
> > the house (!)which prompts me to ask, “what the hell is wrong with that?”
> >
> > The final scene, as cornball as it may sound, gives the chorus another
> opportunity to have a
> > lot of fun with all that Dagon business before letting the tenor cut
> loose and ring out on a
> > favorite note (Bb).
> >
> > I don’t feel guilty in the least loving this opera and there are reasons
> companies still
> > produce it:  singers still enjoy singing it and enough audiences get a
> thrill from it!
> >
> > p.
> >
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