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Saint-Saëns: Samson and Delilah (Highlights); Tchaikovsky: Eugene Onegin (Tatiana's Letter Scene)
 
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Saint-Saëns: Samson and Delilah (Highlights); Tchaikovsky: Eugene Onegin (Tatiana's Letter Scene)

~ Camille Saint-Saens (Composer), Pyotr Il'yich Tchaikovsky (Composer), Leopold Stokowski (Conductor), Risë Stevens (Mezzo Soprano), Leopold Stokowski & His Symphony Orchestra (Orchestra), et al.
5.0 out of 5 stars See all reviews (1 customer review)

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5.0 out of 5 stars Visceral Stokowski, 15 Dec 2007
By Ralph Moore (Bishop's Stortford, UK) - See all my reviews
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A sneaky love for Stokowski is still something some "serious" music-lovers feel the need to apologise for, as if he were not a "proper" conductor - but of course he was a scrupulous musician who breathed life into everything he conducted, even if occasionally he produced a Frankenstein's monster. His musicians loved him and this selection of excerpts from a great, and somewhat neglected opera, does him proud. The best singers of their day on the RCA roster were used for this recording; although none was a native French singer, Rise Stevens was already very experienced in the role of Dalila and both Peerce and Merrill sound fine to me, even though I have read complaints that their French is not idiomatic. I am not French but I speak the language and they sound pretty good to me. Peerce is not the heldentenor the role of Samson requires - his is more of a spinto - but he injects great feeling into his interpretation, has all the notes and enunciates beautifully, the odd slightly distorted French vowel apart. (Never, incidentally, has he sounded so like his great contemporary Richard Tucker.) Similarly, Stevens' assumption of Dalila is deeply satisfying, though ultimately her lower register is less effulgent and her top notes slightly less free than the greatest exponents of the role, such as Rita Gorr and Oralia Dominguez; there is always a slight cloudiness in Stevens' voice. I always listen to Robert Merill with pleasure and his French is quite serviceable. Stokowski's conducting is so sympathetic: plenty of rubato when required, great sympathy for his singers and the ability to generate the febrile passion so much of this music requires in this, one of his very few, operatic recordings.. The sound is clear, intense mono; one quickly forgets its limitations. (If you love Stokowski, let me recommend to you one of the most exciting pieces of recording history I know: his version of Tchaikovsky's "Francesca da Rimini" with the "Stadium Symphony Orchestra" - really members of the New York Phil - on the dell'Arte label.) The filler, Licia Albanese in the letter scene from "Eugene Onegin", shows off her clean, pure soprano to advantage and Stokowski's conducts this lovely music with obvious affection. A great record.
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Saint-Saëns: Samson and Delilah (Highlights); Tchaikovsky: Eugene Onegin (Tatiana's Letter Scene)
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Saint-Saëns: Samson and Delilah (Highlights); Tchaikovsky: Eugene Onegin (Tatiana's Letter Scene) 5.0 out of 5 stars (1)
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