Tonight's Met Samson et Delila

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lennygoran
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Tonight's Met Samson et Delila

Post by lennygoran » Wed Oct 17, 2018 12:05 am

After a delicious meal at our go-to french bistro in nyc Saju we leisurely got over to the Met and was pleasantly surprised-a new imaginative but basically traditional production of Samson et Dalila-the third act was very spectacular. Some very fine singing-still I thought Garanca was not quite right for this role. Alagna while no Vickers was surprisingly good. Len

jbuck919
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Re: Tonight's Met Samson et Delila

Post by jbuck919 » Wed Oct 17, 2018 9:16 am

lennygoran wrote:
Wed Oct 17, 2018 12:05 am
After a delicious meal at our go-to french bistro in nyc Saju we leisurely got over to the Met and was pleasantly surprised-a new imaginative but basically traditional production of Samson et Dalila-the third act was very spectacular. Some very fine singing-still I thought Garanca was not quite right for this role. Alagna while no Vickers was surprisingly good. Len
Even though I never get to eat there, I follow NYC restaurants as a matter of fantasy, but I never heard of that one. I looked up the menu, and thank you, I'll have one of each. :)


There's nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself.
-- Johann Sebastian Bach

maestrob
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Re: Tonight's Met Samson et Delila

Post by maestrob » Wed Oct 17, 2018 1:03 pm

I learned that opera from the Vickers/Gorr recording in the 1960's The opera is a masterpiece, but it takes Wagnerian-sized voices to make it work. "Mon coeur s'ouvre a ta voix..." is deceivingly easy: the rest of the role is quite difficult and much heavier than Carmen, which is Garanca's specialty. Alagna is quite nuts, IMHO, to attempt the role of Samson.

Incidentally, I've sung the duet between Dalila & the High Priest many times: it was one of my best roles before I took up conducting.

jbuck919
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Re: Tonight's Met Samson et Delila

Post by jbuck919 » Sat Oct 20, 2018 4:57 am

The sad thing is that Shirley Verrett never had the career she deserved. I only know her name because she had her heyday when I was at Princeton. (Do correct me if I'm wrong.) Who now has even heard of her? She should have been as famous as many other sopranos.

There's nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself.
-- Johann Sebastian Bach

jserraglio
Posts: 5954
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Location: Cleveland, Ohio

Re: Tonight's Met Samson et Delila

Post by jserraglio » Sat Oct 20, 2018 6:14 am

jbuck919 wrote:
Sat Oct 20, 2018 4:57 am
Who now has even heard of her?
Me. Uncritical admirer..
Is the late Shirley Verrett in the recording cast? I buy the record.


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YouTube Links
https://www.youtube.com/watch?v=SsvqSDg4als
https://www.youtube.com/watch?v=fbwaNWCu-YM
https://www.youtube.com/watch?v=Z3MJBRMsOS4

Facebook Pages
https://www.facebook.com/Shirley-Verret ... 038817061/
https://www.facebook.com/Shirley-Verret ... 298616222/

Other Web Pages
https://shirleyverrett.com
https://en.wikipedia.org/wiki/Shirley_Verrett
http://www.nytimes.com/2010/11/06/arts/ ... rrett.html
https://www.theguardian.com/music/2010/ ... t-obituary
https://www.npr.org/sections/deceptivec ... dead-at-79
http://www.imdb.com/name/nm0894854/

Discography

Commercial Recordings on LP & CD:

Beethoven - Symphony No. 9
Everest SDBR 3162 (LP)

Bellini - Norma
ABC 20017 (LP) // Angel AVC 34030 (LP)

Brahms - Alto Rhapsody
RCA ARL1-3001 (LP)//RCA 6716-2-RG (CD)

Donizetti - Anna Bolena
ABC ATS 20015 (LP)//Angel AVC 34031 (LP)

Donizetti - Lucrezia Borgia
RCA LSC 6176 (LP)//RCA 6642-2-RG (CD)

Falla - El Amor Brujo
Columbia MS 6147// CBS MPK 46449 (CD)

Gluck - Orfeo ed Euridice
RCA LSC 6169 (LP)//RCA 7896-2-RG (CD)

Mahler - Symphony No. 3
RCA LSC 7046 (LP)

Massenet - Arias; Chausson - Poeme de l'amour et de la mer
Fonit Cetra LIC 9006 (LP)// Fonit Cetra CDC 90 (CD)

Mendelssohn - Elijah
RCA LSC 6190 (LP)

Rossini - Siege of Corinth
Angel SCLX 3819 (LP)//EMI CMS 7 64335-2(CD)

Stravinsky - Oedipus Rex
Columbia MS 6472 (LP)//Columbia M31129 (LP)

Stravinsky - A Sermon, a narrative and a prayer
Columbia MS 6647 (LP)

Verdi - Un Ballo in Maschera
RCA LSC 6180 (LP)// RCA 6645-2-RG (CD)

Verdi - Don Carlo
Angel SDL 3774 (LP)//EMI CDS7 47701-8 (CD)//Angel AVC 3406 (CD)

Verdi - La forza del destino
RCA LSC 6413 (LP)// RCA 7971-2-RG (CD)

Verdi - Luisa Miller
RCA LSC 6168 (LP)

Verdi - Macbeth (Abbado)
DG 2709 062 (LP)//DG (new release)

Verdi - Macbeth (Chailly)
London 417 525-2 (CD)

Verdi - Requiem
DG 2707 120 (LP)//DG 415 976-2 (CD)

Verdi - Rigoletto
London 425 864-2 (CD)

Verdi - Il Trovatore
London 430 694-2 (CD)

Vivaldi - Sacred Music
RCA LSC 2935 (LP)

Carnegie Hall recital
RCA LSC 2835 (LP)

Great opera duets with Montserrat Caballe
RCA LSC 3153 (LP)//RCA 60818-2 (CD)

How great art Thou
Kapp SK 3394 (LP)

Recital of Spanish Songs
RCA LSC 2776 (LP)

Shirley Verrett in Opera
RCA LSC 3045 (LP)// RCA 09026 61457-2 (CD includes extras)

Singin' in the storm
RCA LSC 2892 (LP) (only part reissued from other material)

Grand gala in der Oper
RCA (German) RK 42876 (LP)

Met stars in the New World
Metropolitan Opera 216 (CD) ("Oh! Glory")

Opera's greatest drinking songs
RCA 09026 68095-2 (CD) (Lucrezia Borgia "Brindisi")

Non-Commercial Recordings on LP and CD:

Berlioz - Les Troyens (RAI)
Arkadia CDMP 461.4

Bizet - Carmen (London 1973)
GLH 804

Donizetti - Favorita (New York 1975)
BJR 148 (LP)

Donizetti - Maria Stuarda (Florence 1967)
Hunt CD 543

Donizetti - Maria Stuarda (New York City, Carnegie Hall 1967)
Donizetti - Maria Stuarda (Teatro alla Scala 1971)
Myto 2 MCD 911.37 (CD)

Donizetti - Maria Stuarda (New York)
MRF 13 (LP)

Meyerbeer - L'Africaine (San Francisco)
Opera Disc 1003/05 (LP)//BJR 131 (LP)//Legato Classics LCD 116-3 (CD)

Purcell - Dido and Aeneas
Arkadia HP 619.1

Rossini - Mose (RAI 1968)
Freuenz 011-040//Arkadia MP 491.2// LO 7724-25

Rossini - Stabat Mater (Rome 1967)
Voce 6 (LP)// Verona 27060 (CD)//Melodram MEL 28012 (CD)
//Cetra ARCD 2041 (CD)

Saint Saens - Samson et Dalila (Teatro alla Scala 1970)
Hope 217 (LP)//Frequenz (CD)//Foyer 2 CF-2031 (CD)// Arkadia MP 495.2

Verdi - Macbeth (Teatro alla Scala 1975)
Myto 2MCD 962.145

Verdi - In Ballo in Maschera (Teatro alla Scala 1977)
Legendary LR 176 (LP)

Verdi - Don Carlo (Vienna 1970)
Hope 235 (LP)//Legendary LR 163 (LP)

Shirley Verrett sings Vincenzo Bellini's 'Norma' (Highlights); Verdi Oberto, Il Trovatore, Don Carlo, Aida(Highlights)
Gala GL 100.546

Recital (no date or place given; includes complete Mozart "Exsultate" and Chausson "Chanson perpetuelle" with ensemble; John Wustman, piano)
Opera Society OSCD 223 (CD)

Commercial Video Cassettes:

Beethoven - Symphony No. 9
Kulture

Mascagni - Cavalleria Rusticana
VAI

Meyerbeer - L'Africaine (San Francisco)
Home Vision

Saint Saens - Samson et Dalila (Covent Garden)
Pioneer/EMI

Saint Saens - Samson et Dalila (San Francisco)
various

Verdi - Macbeth (Chailly)
London

Shirley Verrett
Kulture
Great arias with Domingo and Friends

lennygoran
Posts: 15375
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Location: new york city

Re: Tonight's Met Samson et Delila

Post by lennygoran » Sat Oct 20, 2018 7:23 am

jbuck919 wrote:
Sat Oct 20, 2018 4:57 am
The sad thing is that Shirley Verrett never had the career she deserved. I only know her name because she had her heyday when I was at Princeton. (Do correct me if I'm wrong.) Who now has even heard of her? She should have been as famous as many other sopranos.
I heard of and heard Verrett-she was wonderful! Len

maestrob
Posts: 6647
Joined: Tue Sep 16, 2008 11:30 am

Re: Tonight's Met Samson et Delila

Post by maestrob » Sat Oct 20, 2018 11:11 am

lennygoran wrote:
Sat Oct 20, 2018 7:23 am
jbuck919 wrote:
Sat Oct 20, 2018 4:57 am
The sad thing is that Shirley Verrett never had the career she deserved. I only know her name because she had her heyday when I was at Princeton. (Do correct me if I'm wrong.) Who now has even heard of her? She should have been as famous as many other sopranos.
I heard of and heard Verrett-she was wonderful! Len
Shirley Verrett had a major career, JohnB, thankfully for us. She had a magnificent voice that changed from mezzo to dramatic soprano early in her career. She had the same voice teacher as Grace Bumbry who, unfortunately, tried the same transition and failed. Verrett's finest moment on record is, IMHO, her Lady MacBeth, recorded with Abaddo for DGG. A very fine singer, she ended her career by appearing in Carousel on Broadway: she had by then lost her top, but not her tremendous resonance.

jbuck919
Military Band Specialist
Posts: 26867
Joined: Wed Jan 28, 2004 10:15 pm
Location: Stony Creek, New York

Re: Tonight's Met Samson et Delila

Post by jbuck919 » Sat Oct 20, 2018 1:53 pm

maestrob wrote:
Sat Oct 20, 2018 11:11 am
lennygoran wrote:
Sat Oct 20, 2018 7:23 am
jbuck919 wrote:
Sat Oct 20, 2018 4:57 am
The sad thing is that Shirley Verrett never had the career she deserved. I only know her name because she had her heyday when I was at Princeton. (Do correct me if I'm wrong.) Who now has even heard of her? She should have been as famous as many other sopranos.
I heard of and heard Verrett-she was wonderful! Len
Shirley Verrett had a major career, JohnB, thankfully for us. She had a magnificent voice that changed from mezzo to dramatic soprano early in her career. She had the same voice teacher as Grace Bumbry who, unfortunately, tried the same transition and failed. Verrett's finest moment on record is, IMHO, her Lady MacBeth, recorded with Abaddo for DGG. A very fine singer, she ended her career by appearing in Carousel on Broadway: she had by then lost her top, but not her tremendous resonance.
I would not call the voice I heard in Mon coeur mezzo, though you are the expert. On the other hand, Vickers until the very end sounds more like a baritone than a tenor. As for Grace Bumbry, all I remember about her was that she did the dance of the seven veils until entirely nude, when it is difficult to imagine Birgit Nilsson doing so. Why did singers of such distinction need vocal lessons later in life in the first place? I still have a very serviceable baritone voice that you would have accepted into any choir you ever conducted, and it would never occur to me to seek out additional training.

There's nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself.
-- Johann Sebastian Bach

maestrob
Posts: 6647
Joined: Tue Sep 16, 2008 11:30 am

Re: Tonight's Met Samson et Delila

Post by maestrob » Sun Oct 21, 2018 10:44 am

Interesting question, JohnB.

The fact is that professional singers' voices are so heavily used that they often make vocal errors that have to be corrected in lessons based on a vocal technique to keep the voice in line. Few singers can rely on a natural instrument that endures through the rigors of a professional career without an objective ear to give feedback on how the voice is working as time goes by and the voice goes through maturation changes. I myself started out as a light baritone (Think Silvio in Pagliacci, or Marcello in La boheme.), and ended up singing Wotan. I never wanted a career as a singer (I was offered a contract to appear in Licia Albanese's Vocal Competition here in Alice Tully Hall, but turned it down as I was intent on being a conductor.), but I was fascinated by vocal technique and thus took and observed lessons until the early 1990's when I launched my vocal competition in Carnegie Hall. My technical knowledge helped me write ornamentations for young singers many times.

Examples of voices needing guidance include Bumbry, Verrett, Sam Ramey (who developed a wobble when his voice teacher died and Ramey couldn't find another whom he could trust), Domingo (especially when he went through a vocal crisis in the early 1980's) and so on.

That said, many great singers manage on their own, but most singers don't have the common sense to do that, and they need a guide for their journey through life's vocal changes.

Addendum: In the 1970's, I did a great deal of choral singing in Philharmonic Hall and Carnegie Hall (over 100 performances with David Randolph, Eve Queler and Sir John Aldiss), and that experience took away my top notes (anything over an Eb above middle C). Luckily, I found a teacher who gave me back my voice with an astonishing technique, and within a couple of years I was exercising up to a high C in the studio. Quite remarkable!

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