March 27, 1993: Samson et Dalila in Bergen

1993-03-27 Samson et Dalila (Saint-Saëns), Opera Bergen

Dalila = Gail Gilmore
Samson = George Gray
Gran Pretre = Anooshah Golesorkhi
Abimelech = Boris Agayev

Anne Randine Øverby, conductor




The Venue: Grieghallen, Bergen (Norway)
I know I was there but unfortunately I do not remember much from it. But I think I would have remembered if it had only been a concert version. I do think that I was impressed with Gail Gilmore's Dalila and by Anooshah Golesorkhi as Grand Pretre.

OD Travel

March 20, 2004: Samson et Dalila in London

2004-03-20 Samson et Dalila (C. Saint-Saëns), Royal Opera House (London)

Samson = José Cura
Dalila = Denyce Graves
Abimelech = Tigran Martirossian
High Priest = Bruno Caproni
Ancient Hebrew = Julian Rodescu
First Philistine = James Kennedy
Second Philistine = Jared Holt
Messenger = Hubert Francis

Philippe Jordan, conductor



Director:
Elijah Moshinsky

Designs:
Sidney Nolan

Lighting:
Nick Chelton

Choreography:
David Bintley




Second Philistine:
Jared Holt§

Messenger:
Hubert Francis§


§ Vilar Young Artist

Samson et Dalila, ROH 20.3.2004

It was those transparent curtains with rather ugly paintings. It was ugly and disturbing. The first was not too bad, the hand of God (that's my interpretation. But it stayed on too long after the opera had started. That curtain was in a way acceptable. The 2nd curtain a very vulgar interpretation of I guess Dalila the enchantress. That stayed on WAY too lang, and I also found it offending as a woman. Act 2 is a beautiful act, the most beautiful of all operas I know. The 3rd curtain was a painting of the scapegoat, and it was sickening how long it stayed on.

I found the chorus a bit lack in coordination in their singing. José Cura came as the most handsome Samson I have ever seen. He sang admirably and it was the best Samson performance I have seen with this Argentine tenor. Denyce Graves was singing Dalila. No newspapers had prepared me that the American mezzo was 5 months pregnant. That was a shock. Both vocally and in her acting there a sense of her being very careful in conducting herself onstage. I did long sometimes for these blast of powers that Agnes Baltsa brings onstage.

Denyce Graves voice is compared to Agnes Baltsa a more true mezzo/alto voice, but that said I did not feel a strong stage-presence as I always do with Baltsa.

Act 1: Abimelech and Grand-Pretre, good but not really very memorable. The Old Hebrew, great voice, but it is always when José Cura is there that one can say here is an interesting moment going on. I liked the how Samson came a bit later at the gathering round the Old Hebrew, the little boy who is there guiding Samson in the 3rd act, is here guiding Samson in and The old Hebrew out after he (O.H.) has blessed Samson.

Another thing is that this act ends with Samson removing his Jewish prayer-clothing and leaves with Dalila. They kiss. Curtain down for act 1.

Act 2. As always the most fantastic act with wonderful music and singing. This Dalila really longs for revenge, and she is just pretending to love Samson. No doubt. Her coarse laughter when thinking about that weapons is in perfect shape, her tears will be the un-doing of Samson. In the duet with the Grand-Pretre there is very little energy and dark excitement. But when he leaves Dalila put herself in a melancholy state and then Samson arrives "mal-gré lui-mème". And every-thing is just perfectly acted and sung. Just like it was a movie. It is real touching and kissing. It is near real sex onstage and there is no vulgarity and everything is very true. In this moment when they are both laying together one could think that Denyce Graves and Cura would rather inhibited by the fact that this Dalila is really pregnant but they are not. This is very tender love-making, complete trust. Then there is "Mon Coeur s'ouvre à ta voix" and the quarrel "Mais, non, que dis-je helàs". And in the end Samson cannot resist he is going inside her house after her, and the Philistine is creeping nearer like tigers. "À moi, Philistines!"- "Trahison!".
WONDERFUL


Act 3. I hated the Bacchanale and the ballet, the vulgarities put into the scene. The scapegoats were killed and the blood giving to the Philistine. But it had the great aria of Samson wonderfully sung and acted by José Cura, and of course when he came back onstage for the taunting by the philistines lead by the young boy. And then he got his revenge. But the pillars did not support anything, so how he could kill anyone except those two that were sitting on top of the pillars is a mystery.

And then all the applause. In ROH no applause during the acts only after the curtain was down, and singers did not appear to take the applause until the end of the whole opera.

And after that we waited at the Stage Door for a long time. But then Denyce Graves came out, she left rather quickly, José Cura came after and he stayed on till all had taken their photos and even talked at length to a lady just outside the stage door. Someone had to come and fetch Cura so that he could go to the restaurant just opposite the ROH's Stage Door.


BRAVO, José Cura!!!!!!!

OD Travel + Photos

March 18, 2001: Samson et Dalila in Barcelona

2001-03-18 Samson et Dalila (Saint-Saëns), Gran Teatre de Liceu (Barcelona)

Samson = José Cura
Dalila = Markella Hatziano
El Gran Sacerdote = Simon Estes
Viejo Judío = Stefano Palatchi



Sudden debut of José Cura in Samson et Dalila at Barcelona's Gran Teatre de Liceu
I was in Barcelona just for seeing José Carreras as Samson in "his" Opera House. Then the word came out "Enfermidad", Carreras is sick. Cura replaces Carreras. I thought, it could be interesting to compare, and then I love this opera. (Rumors has it that Cura was not the official replacement for the Liceu Samson). Only Cura or Domingo would be great enough a star to replace Josep Carreras in his hometown.

My parents loved José Cura as Samson, so did most of the Spanish press. "Cura was superior to Carreras".

I disagree to that sentiment. Cura sang Samson in Zurich June 10, 2000, and did a much better show in Zurich than here in Barcelona

Act 1. Cura was playing Samson like the ladies man some say Samson was.
Act 2. the best act in the opera, but it was not a memorable act in Barcelona.
Act 3. The emotional act in this opera. But I didn't feel those sentiments.

The one that deserved applause was Stefano Palatchi, the Old Hebrew. I wish I had recorded this evening. Now I must only use my memory. Was it better than I remember it, or is my criticism justified. Don't know. But I remember standing up in the end, and applauding hard. I remember thinking: Why do I applaud it, I didn't feel that Cura was that good. Hysteria...

OD Travel + Photos

March 6, 1994: Samson et Dalila in Vienna (I was not there)

1994-03-06 Samson et Dalila, (Saint-Saëns), Wiener Staatsoper

Dalila = Agnes Baltsa
Samson = Josep Carreras
Le Grand-Prêtre de Dagon = Eduard Tumagian
Abimélech = Istvan Gati
Un vieillard hébreu = Goran Simic
Un messager philistin = Ruben Broitman
Premier philistin = Franz Kasemann
Second philistin = Peter Köves

Jacques Delacôte, conductor

I wish I was there to see this Samson et Dalila in Vienna State Opera instead of Zurich to see Fedora. Strangely I have the program for SD in Vienna but no program of Fedora in Zurich.

In 1996 finally I saw Samson et Dalila with Baltsa/Carreras. In 1998 finally Fedora with Baltsa/Carreras. Both in Zurich.

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

December 15, 2002: Samson et Dalila in London

2002-12-15 Samson et Dalila (C. Saint-Saëns), Barbican (London)

Samson = José Cura
Dalila = Marina Domashenko
Grand Pretre de Dagon = Juha Uusitalo
Abimelech = John Relyea
Un Vielliard Hebreu = Robert Lloyd
London Symphony Orchestra
Sir Colin Davis, conductor
London Symphony Orchestra
Sir Colin Davis, conductor



Saint-Saëns Samson and Delilah

This was just the concert version of the opera. And the Barbican Hall is air-conditioned, something that I think contributed to the drier sound of the singers than on the dress-rehearsal Dec13th.

This time the hall was full and the chorus was onstage also on the second act, even though they had nothing to sing, but they probably just wanted to see José Cura, Marina Domashenko and Juha Uusitalo sing the wonderful act 2 of Samson et Dalila.

The soloists was all dressed in black except Marina Domashenko who was in a shimmering grey dress. Even more acting in this premiere-night than on the dress-rehearsal, especially as it concerns José Cura and Marina Domashenko. Both have sung their roles in opera houses, so they knew exactly what was happening.

It was a wonderful opera-night, even if only a concert. Unfortunately I got real sick when I came back to my hotel, I was nearly not well enough to get to Heathrow and to take my plane back to Norway. Then in Norway I found out that I naturally had gotten a cold, presumably in London.

So a wonderful concert turns into a blues, but not because of the soloists, the chorus, the orchestra and the conductor.

HAPPY NEW YEAR, all !

SAMSON = Jose Cura, tenor
DALILA = Marina Domashenko, mezzo-soprano
(replaces Carolyn Sebron, mezzo-soprano)
(replaces Olga Borodina)
The High Priest of Dagon = Juha Uusitalo, baritone
Abimelech = John Relyea, bass
And Old Hebrew = Robert Lloyd, bass
London Symphony Chorus

OD Travel

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

December 13, 2002: Samson et Dalila in London

2002-12-13 Samson et Dalila (C. Saint-Saëns), Barbican London

Samson = José Cura
Dalila = Marina Domashenko
Grand Pretre de Dagon = Juha Uusitalo
Abimelech = John Relyea
Un Vielliard Hebreu = Robert Lloyd
London Symphony Orchestra
Sir Colin Davis, conductor

London Symphony Orchestra
Sir Colin Davis, conductor

Samson = Jose Cura, tenor
Dalila = Marina Domashenko, mezzo-soprano
Grand Pretre de Dagon = Juha Uusitalo, baritone
Abimelech = John Relyea, bass
Un Vielliard Hebreu = Robert Lloyd, bass
Mark Stone, baritone
London Symphony Chorus

Saint-Saens Samson and Delilah

Dress Rehearsal, Barbican Hall in the Barbican Centre

It started at 1900 (London Time), I was on Norwegian Time 2000.
Concert version of the opera. They were all in casual wear, nobody more so than José Cura. It was an orchestra and chorus in great form, conducted by Sir Colin Davis, who also conducted Cura's recording of Samson et Dalila on Erato. Marina Domashenko replaced Olga Borodina, who had partnered Cura on the CD. Her voice was rich and she was in role all the time. José Cura sang Samson in a way that showed that this role was also his onstage in an opera house. Of the deep voices Robert Lloyd, the old Hebrew was the most impressive on, but the Great Priest (Juha Uusitalo) and Abimelech was also very good. The sound of the chorus was crystal-clear. On only really missed the stage when the Danse of the Priestesses, or the Bacchanal was played. Or, should I say, that was the time on REALLY missed it.

The "staging" of the concert. Chorus and orchestra all dressed formally in black. The chorus was behind the orchestra, soloists was standing next to the conductor, but closer to the audience than the conductor. In the beginning of "Dieu d'Israel", the chorus is sitting (since this opera starts with almost a whisper), and then they stand of (all at the same time) when the music reaches a higher level of anger/despair. Cura walks casually in, and starts singing "Arretez, o mes freres" while walking and not looking at his score. Then he turns towards the chorus and quietly put his glasses on. They are very discreet , but one can see the reflection from them. Then Abimelech comes in, put his score on the stand and sings, and go out after singing his part (as a dead man, since Samson has just killed him). One needs one's phantasy when the opera is a concert..

Then The Great Priest of Dagon arrived with the 1 Philistine (Alasdair Elliot, tenor) and the 2. Philistine (Mark Stone, baritone) and the Messager (Peter Auty, tenor). Great singing. In the "Hymne de joie", the lower male voices of the chorus stood up, with Robert Lloyd as the old Hebrew. Wow, can that man sing!!! Then it was the female singers turn for "Voici le printemps", marvelously sung. And then Dalila came, at last, Marina Domashenko, "Je viens celebrer la victoire". Dalila came from the left door, Cura & Lloyd from the right. Wonderfully sung, all. Cura & Lloyd left for the Danse of the priestesses, Samson seemed to want to stay on. Dalila, Marina Domashenko, stood there, in role, seeming to almost wanting to danse with all her allure on. Then Dalila sang "Printemps qui commence" and the Old Hebrew tried to dissuade Samson from listening, since it was a concert Cura was not there.
INTERVAL
2nd act, my favorite.
The Chorus does not sing in act 2, so they were not there. But Dalila and Great Priest and then José Cura, Samson they all sung and conquered us. Not only singing, but they also acting their part as far as it was possible in a concert, and the limited space. When Dalila exclaims "I hate you", she walks off, Samson is distraught, but the he is off. The orchestra is in fervor. Marina Domashenko walking out the door " A moi, philistines!!", José Cura: "TRAHISON!"
INTERVAL
3rd act.
José Cura and the chorus in emotional "Vois ma misere, helas!" Both orchestra and chorus did well in all their parts, and I must say that this chorus really sang so that one heard the words. Great Priest of Dagon and Dalila came onto stage, it was really touching what Cura did with his tormented Samson, soft-voiced in his reproaches to himself, passionate in his defense for God.

BRAVISSIMI!!!!

OD Travel

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

October 30, 2010: Samson et Dalila in Karlsruhe

2010-10-30 Samson et Dalila (C. Saint-Saëns),Badisches Staatstheater Karlsruhe

Samson = José Cura
Dalila = Julia Gertseva
Abimelech = Lukas Schmid
High Priest = Walter Donati
Ancient Hebrew = Walter Shreyek (statist) / Luiz Molz (voice)
First Philistine = Sebastian Haake
Second Philistine = Alexander de Paula
Messenger = Andreas Heideker
Young Hebrew = Sebastian Shaible

Jochem Hochstenbach, conductor

Inszenierung - José Cura
Ausstattung - José Cura
Einstudierung der Chöre - Ulrich Wagner
Dramaturgie - Annabelle Köhler
Regieassistenz - Eva Schuch



I would love to say that I really loved this production of Samson et Dalila since this was with REGIE UND AUSTATTUNG José Cura. What is great about this production is that the concept works, it makes sense and it does not go against the music or the words in the opera. I think that Regie and Konzept is often made against the story and music and very often just to shock, that is the cheap way to work. Here you have the opposite someone really doing the REGIE as the handiwork it should be. And so here it works. Without earlier knowledge of the opera and story the production works even better. Then there are some errors that directors should try to avoid. One should never have to read the concept of director in order to understand it and it should be obvious who is who. It was not obvious that the children dressed in red was Philistine children. Had the Philistine been dressed in red and not in a formal dark wear (Abimelech, Grand Prêtre) it would have been clear that children in red are Philistine, other children are Hebrew. With some of the important ideas of José Cura is the children, the innocent ones, trying save each other, not caring who is the enemy. Without clarity here much understanding is already lost in act 1.

My other complaints are much more my personal view. In my view it was too much violence showing here. Compared to other "shows" it is not too much violence. But it is José Curas choice to show how violent the regime the Hebrew are under. This does undermine the other idea that José Cura has that Samson is nothing more than a suicide bomber using religion as a pretext for violence. With violence so great must not revolt come and therefore is not Samson forced to become the leader. That is just my view. So Samson is a hero in this production even if Cura is trying to show us that this revolt was not without Hebrew casualties.

In this concept the Old Hebrew is killed by the High Priest in front of the children and women. The children dressed in red then saves more lives from the murderous High Priest. But if you have not read in the program that this means Philistines are saving Hebrews, children saves children, then one important point is lost. Because the Old Hebrew is killed before the "Hymne de joie, hymne de délivrance" sung by the Old Hebrews and other elders this become a sombre song offstage as we see the dead Hebrews are carried into the stage. Still it does not really make sense that the High Priest should shoot the Old Hebrew as he sings "Maudit soit le sein de la femme qui lui donna le jour!". Why shoot a man when he could strangle the woman who might just be Samson's mother or wife? It would have been really chilling. But then the concept would not work, or what...

Here there are no doubt about Dalila. She never loved Samson. This Dalila is a woman that is callous and uses her allures to trap men and to be powerful and rich. I can accept that but I would have loved her to have many layers to her. I find it harder to just accept the sexualization of Dagons priestesses. But then they are just Dalila's tools. It is as if we are to believe that Dalila and her "sisters" hate men because they love women. I find it cheap. And I find it strange that all the priestesses are inside Dalila's hut the Soreck valley.

When the High Priest visits Dalila he is shown as big shadow behind the tall veil. Unfortunately this High Priest as he is singing hiw big shadow makes any tremulus in the hands very visual and that goes against his portrayal as a strong man.

José Cura showed himself as a man capable to create a Samson et Dalila that is really modern and true to the music. The rave reviews was not completely unjustified. And then there is the voice and acting of José Cura. He is the complete Samson. Wonderful singing and acting. Julia Gertseva was Dalila. She is a promising Dalila, her voice is sometimes just short of really opening up and then she could be a Dalila for the ages. Other than that, she is spotless. The other singers was not up to the highest standard where Cura and Gertseva reigned. The chorus was exceptional. The statists did a good job. The children was wonderful.

In the end I will mention the teenager, an invention of José Cura. A long-haired teen-ager that I thought would be like a Samson double. It is an operatic trend of using doubles in opera. But in this production he is just the ardent follower of Samson who idolizes Samson. He is disappointed by Samson when he falls for Dalila, but when he himself is used by Dalila, he understands and forgives and saves the children from the destruction of Samson on Samson's command.

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My original blog post

October 20, 2006: Samson et Dalila in Bergen

2006-10-20 Samson et Dalila (Saint-Saëns), Vest Norges Opera (Bergen)

Samson = Jorge Perdigon
Dalila = Graciela Araya
Grand Pretre de Dagon = Anooshah Golesorkhi
Abimelech = Theodore Coresi

Anne Randine Øverby, conductor



C.Saint-Saëns (1835-1921)
SAMSON & DALILA
20., 22. & 28. oktober kl.19.30.
ARENUM, Solheimsviken



REGI - Bruno Berger Gorski
SCENOGRAFI - Dirk Hofacker
KOSTYME - Opera Bergen
LYSDESIGN - Jens Lange

VNOs orkester

Bergen Operakor

CONDUCTOR - Anne Randine Øverby

It was more special than I had thought, this was the premiere, and it was even Graciela Araya first attempt to sing Dalila. And the mezzo/contralto from Chile sang Dalila's aria "Mon coeur s'ouvre a ta voix" exquisitely. Of course, the second act was the best part of the opera, as it almost always is. Here Graciela Araya (Dalila), Jorge Perdigon (Samson) and Anooshah Golesorkhi (Grand Pretre) was at their best. Some minor missteps, due possible that the conductor was not in front but at the side.:Araya was a bit unlucky 2 times with Anooshah Golesorkhi. Other times I would say that the best musical and acting came when Graciela Araya sang together. Acting was superb. What can one say about Anooshah Golesorkhi, the Grand Pretre of Dagon, than he was perfection, first time any one in that role blew me away, what a voice and actor. Great !!!! And to say more about Graciela Araya, our Dalila, after just 5 days of rehearsing she was amazing. Her voice was much deeper than I was used to in that role, and I am truly sorry that I will not see and hear her on Sunday 22 and Saturday 28, too, because I am sure she will be even more sensational with more practice. Most of all I wish I would be in Bergen on October 28th, that I am sure will be the best performance, since it usually that some time to settle in. Then it is Jorge Perdigon, our Samson, weak in the beginning of the opera, but that made sense. Great acting, his best act was act 2, but also wonderful in act 3. But not quite the voice that Samson needs. I have heard Carreras as Samson in 1996 Zurich, and Jorge is not yet at that niveau, he not near Jose Cura. But how can I know until I have heard him in a true opera house. But still I am sure he sound like a little voice against the two big voices of Dalila & Grand Pretre.

The production was OK. Costumes: White for the Jews, Black for the Philistine. Green for Samson, and with DIEU on his jacket. And DIEU was writing on the blocks when God was present.

Not to forget. I was lucky enough to speak to Graciela Araya after the opera, and got my photo taken with her. And wow, she looks good in black, not to mention the dress she had in the opera, very classy.

Then I had some problems finding where to go to get to my bus to the city center, and then it was an easy walk to my hotel.

OD Travel

June 10, 2000: Samson et Dalila in Zurich

2000-06-10 Samson et Dalila (C. Saint-Saëns), Opernhaus Zurich

Dalila = Agnes Baltsa
Samson = José Cura
Le Grand-Prêtre de Dagon = Giorgio Zancanaro
Abimelech = Guido Götzen
Un vieillard hebreu = Giuseppe Scorsin
Un messager philistin = Matthias Aeberhard
Premier philistin = Miroslav Christoff
Second philistin = Werner Gröschel
Un enfant = Joêl Bourgeois

Jacques Delacôte, conductor



Samson et Dalila with Jose Cura, Agnes Baltsa & Giorgio Zancanaro

It is the same production that I saw in 1996 with Carreras as Samson, Baltsa as Dalila, and Giorgio Zancanaro as Grand Pretre de Dagon. And naturally I wondered about how would Cura do against the comparison of Carreras. Already as we first see Cura, difference is great. Cura is coming, the muscle-man, trying to convince the people as with force. When Carreras came, it was the as a prophete, a Man of God, with spiritual means to convince the people. Samson was a womanizer (read the Bible) so Cura is doing it right in act 1 when Dalila is singing and he is trying to look at all the women on the stage. Carreras (Samson) saw only Dalila (Baltsa).

Act 2
The excitement was greater in 1996 (maybe it was age, maybe not). Jose Cura and Agnes Baltsa in the seduction scene, the magnetism was not working... Carreras/Baltsa in 1996 was magic.

Act 3
"Vois ma misere". Jose Cura was too physically strong to make justice to this scene. Carreras, on the other hand, was heartbroken and the audience felt it, it was making me cry. Cura sang well, but I was indifferent. Cura was almost tossing the boy around on the stage, when a boy guides the blinded Samson. One never felt that this Samson had lost any strength. With Carreras we all knew it was God's hand that destroyed the Hall with all the Philistines and Samson and Dalila.

The same production as 1996 and Agnes Baltsa is older, but it was great enjoyment. My personal view of Samson makes Jose Carreras my favorite Samson, but I admit that Jose Cura is not bad. (I like Carreras' more spiritual Samson, Cura was more the physical strong Samson), One witness a near operatic disaster in Act 1, Cura loses track, and his big voice makes it so obvious. But Cura is a professional artist he gets on track. Zancanaro is not better than in 1996, but he is good.

Musikalische LeitungJACQUES DELACÔTE
InszenierungGRISCHA ASAGAROFF
BühnenbildMAROUAN DIB
KostümeJAN SKALlCKY
Lichtgestaltung'ROBERTUS CREMER
ChorJÜRG HÄMMERLl
ChoreographieBERND R. BIENERT


0 Mitglied des Inte'rnlltionnalen Opernstudios
ZÜRCHER BALLETT
1. RildDelphine Perroud, Galina Mihailova,
Nathalie Sawinow, Cornelia Lüthi, Fabiana Maltarolli, Alla Bykanova
4. BildFabiana Maltarolli -Kinsun Chan
Delphine Perroud -Lukaseh Abramian Galina Mihailova -Petros Terterian Nathalie Sawinow -Vardan Khaehatryan Cornelia Lüthi -Vahe Mertirosyan
Alla Bykanova -Andres Heras Frutos
CHOR DES OPERNHAUSES ZÜRICH ZUSATZCHOR OPERNIIAUS ZÜRICH STATISTENVEREIN AM OPERNHAUS
ORCHESTER DER OPER ZÜRICH
Samstag, 10. ,Juni 2000Schwveizer Illustrierte-Abo
Pausen nach dem 1. und 2. Akt Beginn: 19.45 Uhr
Ende: ca. 22.45 Uhr

OD Travel + Photos

May 21, 2011: Samson et Dalila in Berlin

2011-05-21 Samson et Dalila (Saint-Saëns),Deutsche Oper Berlin

Samson = José Cura
Dalila = Vesselina Kasarova
Abimelech = Jörn Schümann
High Priest = Laurent Naouri
Ancient Hebrew = Ante Jerkunica
Messenger = Clemens Bieber
First Philistine = Peter Maus
Second Philistine = Sergio Vitale

Alain Altinoglu, conductor

Director - Patrick Kinmonth
Stage design, Costume design - Patrick Kinmonth, Darko Petrovic
Light design - Manfred Voss
Dramaturgie - Katharina John, Miriam Konert
Chorus master - William Spaulding
Artistic production manager - Christian Baier

I love Saint-Saens' Samson et Dalila and act 2 is the best act. But today in Deutsche Oper Berlin I was bored and I was pained by listening to the mezzo Vesselina Kasarova. It was not helped by the feeling of lacking fresh air in the audience room. But, any way, I am pleased to say that both Jose Cura and Vesselina Kasarova was excellent in the big duet of act 2 beginning with En ces lieux and continued with Mon coeur s'ouvre a ta voix.

Kasarova's voice is deeper now and sound almost like an alto. Her voice lacks some agility and she was not helped by the young maestro's slowing the music. Jose Cura's voice seemed to have opened of by act 2 and continued its triumph in act 3. In act 1 his voice sounded muffled. Laurent Nouri was an excellent High Priest of Dagon.

This Samson et Dalila was not shocking, or edgy. It was not even interesting. Even having Jose Cura singing his heart out in Vois ma misere did not change the fact that this production failed to make us care. It was the best singing of this aria so this says the production failed. It did not fail because director chose to put the action to another time place, Paris at the time the opera was composed. It fail by having half-cooked ideas, by defying logic, by putting distractions up instead of making the audience think and feel. The young boy and young woman (his mother? and servant to Dalila), the boy was supposed to be the alter-ego of Samson, but what interpretive value did it give the opera? Little value but plenty of distractions to the real story. The offensive part was the end of the opera with cattle wagons and Philistine dressing down as if they were Jews off to Auschwitz. But the real offensive part of this offensiveness was to make Holocaust into kitsch and it did not even make sense.... BAD

Yes it was bad, really bad, I have never applauded so little in my life, except that time when I had almost broken my wrist.

UPDATE: All the reviews I have read about this production gives the highest praise to Vesselina Kasarova.

Lost and found in Berlin's Samson et Dalila (original blog post)

OD Travel + Photos

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

April 6, 1996: Samson et Dalila in Zurich

1996-04-06 Samson et Dalila, (Saint-Saëns), Opernhaus Zurich

Dalila = Agnes Baltsa
Samson = Josep Carreras
Le Grand-Prêtre de Dagon = Giorgio Zancanaro
Abimélech = Guido Götzen
Un vieillard hébreu = Giuseppe Scorsin
Un messager philistin = David Corman
Premier philistin = Ruben Amoretti
Second philistin = Rolf Haunstein
Un enfant = Raphael Spiegel

Serge Baudo, conductor



A great Carreras, a fantastic Baltsa and a weak Zancanaro

The conductor was not good enough, he single-handedly ruined some good operatic moments. Too much stage management ruined some moments and too little made other moments indifferent.The chorus sang beautifully, but their acting was not good enough. Not much feeling in their singing. I don't think it was their fault at all.

Act 1

An unusual setting, the chorus was building something. The conductor's use of forte too early made this poignant moment something like a chorus practice. (Listen to Philips track 1 to understand how it should have been) [Wrong dynamics] Then the moment came - Samson arrived (Carreras); the conductor made this much more vocally demanding than it should have been, too slow and too fast. Carreras was almost suffocated by following the conductor. The response of the chorus was just simply following the conducting. They did not show any understanding for the moment (the fault of the stage manager.


Abimelech arrived, the effectiveness of his aria was drowned by the going-on acting. Too much happened outside. (I think Carreras had to go out to drink a little water, because he came on stage at the ending of the aria.)


The spiritual farce became a physical farce, because the Israelites were fighting the guards of Abimelech. Carreras acted well, but it became a scene of the chorus. Giorgio Zancanaro as the grand prêtre was too weak, especially in the aria of revenge against Samson - Weak. The old Hebrew - a beautiful moment At last came Baltsa (= Dalila) with the Philistine girls, singing, dancing _ (for the first time Samson & Dalila as it should be staged).Dalila was so beautiful, so sexy, Samson was so attracted to her. At last Carreras could use his beautiful voice, with no brutal interference from the conductor

Act 2 the dream act of Samson & Dalila.


Giorgio Zancanaro was still weak, but showed some signs of good acting. Agnes Baltsa was the great singing actress as always. José Carreras sang gloriously and acted his heart out as Samson. The sweetness of "Mon coeur s'ouvre à ta voix" was overwhelming. But after the arias, when Dalila was doubting Samson, the conducting was suddenly in a frenzy. Baltsa and Carreras had to sing so fast, running so fast. To my amazement they managed to act even at this frenzied tempo. How I admired them, also felt sorry for them, knowing that opera-stars can be so totally at the mercy of the conductor. They survived and relieved we could have over a twenty- minute break.

Act 3

Carreras was in everything the suffering Samson. Only one regret, the chorus was just singing (off stage) without showing any emotions. The Philistines sang the 'L'aube blanchet' in a very civilized way, the Bacchanal was just a ballet, not interesting or sexy. The Grand prêtre showed some strength, the true strength was Dalila. To see Carreras walk onto the stage was very emotional, the suffering of Samson got through to the audience. Every emotion was evident in his voice, beautiful and heartbreaking. When Samson received his strength from God, I felt something was happening in myself. So emotional was it. The actual falling of the curtain was an anti-climax. Nothing dramatic happened. The chorus was not frightened, and neither were we.


It was a fantastic evening!!!

OPERNHAUS ZURICH
Intendanz Alexander Pereira

ln.französischer Sprache
SAMSON ET DALlLA
Oper in drei Aiktn und vier Bildern von Ferdinand Lemaire
Mlusik von
Camille Saint-Saëns (1835-1921)

Uraulführung:
2. Dezember 1877, Hoftheater, VVeimar 2. Fassung: 23. November 1892, Opera, Salle Garnier, Paris
Musikalischc Leitung SERGE BAUDO
Inszenierung GRISCHA ASAGAROFF
Bühnenbild MAROUAN DIB
Kostüme JAN SKALlCKY
Lichtgestaltung ROBERTUS CREMER
Chor JÜRG HÄMMERLl
ChoreographieBERND R. BIENERT


ZÜRCHER BALLETT
1. BildBérénice Faure, Catherine Marston,
Monika Möckli, Helena Sanz, Cristiana
Sciabordi, Nadine Walker, .Josie Walsh
4. BildHelena Sanz -Giorgio Madia
Bérénice Faure, Monika Möckli, Cristiana Sciabordi, Nadine Walker, Josie Walsh
Sergio Bustinduy Soriano, Carles Carreras,
Andres Heras Frutos, Adrian Kajo, Asier Orbelzu
CHOR DES OPERNHAUSES ZÜRICH ZUSATZCHOR OPERNHAUS ZÜRICH S1TATISTENVEREIN AM OPERNHAUS
ORCHESTER DER OPER ZÜRICH
Samstag, . April 1995Freier Verkauf
Pausen nach dem 1. und 2. Akt
Beginn: 19.00 Uhr Ende: ca. 22.00 Uhr

SPIELZEIT 1995/96

OD Travel