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Saint-Saëns - Samson et Dalila - Chung, Domingo
 
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Saint-Saëns - Samson et Dalila - Chung, Domingo

3 mars 2003 | Format : MP3

EUR 19,99 (TVA incluse le cas échéant)
Également disponible en format CD

Applications Amazon Music

Applications Amazon Music
Titre Artiste
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Disc 2
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Détails sur le produit

  • Date de sortie d'origine : 16 février 1993
  • Date de sortie: 3 mars 2003
  • Nombre de disques: 2
  • Label: Warner Classics
  • Copyright: (C) 2003 EMI Music France
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 2:03:19
  • Genres:
  • ASIN: B002583912
  • Moyenne des commentaires client : 2.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 232.865 en Albums (Voir les 100 premiers en Albums)

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Par cacoton le 5 novembre 2011
Format: CD
Waltraute Meier est une incomparable soprano (Isolde,Ortrud etc...) mais elle peine à chanter un rôle expressément écrit pour une mezzo (frisant même parfois le registre de contralto). Le chef d'orchestre n'a pas suffisamment observé la partition et certains tempos ne correspondent pas à ce qu'a voulu l'auteur.Quant à la prise de son, je la trouve bien confuse,des détails importants étant souvent inaudibles. Mieux vaut en rester à la version Prêtre malgré ses quelques imperfections.
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Format: CD
Waltraud Meier est sublime dans ce rôle. son phrasé est ample mais sobre.
pour moi la meilleure Dalila à ce jour.
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Amazon.com: HASH(0x97016318) étoiles sur 5 10 commentaires
41 internautes sur 42 ont trouvé ce commentaire utile 
HASH(0x96c404c8) étoiles sur 5 The best Samson ever. 5 janvier 2000
Par Gerardo Cabrera Munoz - Publié sur Amazon.com
Format: CD
Samson & Delila has not been that lucky on records. The classic Vickers/Gorr recording is marred by Georges Prete's boring conducting and by a restricted sound recording. Not much can be said of later sets: Baremboim has a Boris Godunov instead of a Delila in Elena Obraztsova (a classic DG mistake of vocal casting); Christa Ludwig and James King are not very exciting in Giuseppe Patane's 1973 recording, and Carreras and Baltsa won't burn the house down either. But as so often in French opera, EMI had a great cast, a great conductor and they recorded the opera. From the very beginning, the orchestra alerts you that this is not going to be an oratorio-like reading. Myung Whun-Chung unfolds the drama with lethal imagination, and lets you hear wonderful things in this great score. By quite a distance, this is the best conducted Samson in the catalogue. Domingo in very good voice, is a noble hero, but it is the devastatingly erotic Delila of Waltraud Meier who steals the show. What a terrific performance! Sung in perfect French and in a velvet voice, no other mezzo who has recorded the role, even comes close. EMI sound picture is admirable, the more I hear this recording, the more I like it!
13 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0x96c4051c) étoiles sur 5 Placido Domingo And Waltraud Meier Sizzle 29 novembre 2005
Par Rudy Avila - Publié sur Amazon.com
Format: CD
This 90's EMI recording of Saint-Saens' most famous operatic work Samson et Dalila, still a popular opera in most companies, stars Placido Domingo and mezzo soprano Waltraud Meir. They are both mature, lyrically resplendent singers who not only sing beautifully and with gusto, but live their characters as well. Certainly, Domingo knew how to live each of his roles. Singing in his later years, his voice is dark, masculine, still lyrically strong and his high register is still above the staff and above the orchestra. His French diction is superb. As Samson, he seems to take on a Wagnerian hero approach. Samson, a Hebrew Old Testament version of Hercules, is a man whose heart is in the right place and attempts to save his people from the wicked pagan Phillistines. His one weakness: the beautiful and seductive Dalila. The true measure of a great Samson et Dalila lies in the vocal prowess of the lead tenor and mezzo, not to mention a good conducting of the score. While Chung may not be an especially striking conductor, this recording is blessed with the talents of Domingo and Meier. Meier is acclaimed for her Wagner (Isolde, Bragaine) and her Mozart repertoire (Despina, Elvira, Cherubino) her voice is strong in the middle register and velvety in the higher register. She is an appropriately seductive and sensual Dalilah, though I would also have enjoyed Grace Bumbry or Shirley Verrett, if both these singers could have for once been pulled out of retirement to sing opposite Placido's excellent Samson. This is a fine recording with great moments. Even the wonderful Samuel Ramey sings a particularly brilliant High Priest. I recommend you listen to the following highlights- the opening chorus, Samson's arias (all of them) and Dalilah's "Samson, Recharce Ma Presence", an unbeatable rendition on this recording.
18 internautes sur 21 ont trouvé ce commentaire utile 
HASH(0x96c40954) étoiles sur 5 Extraordinary recording! 24 décembre 1999
Par J. Luis Juarez Echenique - Publié sur Amazon.com
Format: CD
Excellent as Domingo's Samson is, it is Waltraud Meier and Myung Whun-Chung who steal the show. The gorgeous German mezzo sings a ravishing Delilah, as fatale as femme fatales get, besides her French is virtually perfect. Myung Whun-Chung conducts a very exciting, very theatrical Samson. No other recording even comes close.
8 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x96c409a8) étoiles sur 5 The Premiere Samson Recording 11 mars 2006
L'évaluation d'un enfant - Publié sur Amazon.com
Format: CD
Plácido Domingo [Samson] ** Waltraud Meier [Dalila] ** Alain Fondary [High Priest of Dagon] ** Jean-Philippe Courtis [Abimelech] ** Samuel Ramey [An Old Hebrew] ** Christian Papis [A Messenger] ** Daniel Galvez Vallejo [First Philistine] ** François Harismendy [Second Phillistine]* Orchestra De L'Opera Bastille,* Myung-Whung Chung conductor

This early 90's EMI recording of Samson Et Dalila, one of the few French "grand operas" of 19th century Paris Opera to remain popular to this day, is possibly the greatest studio recording you are likely to find, thanks to the talents of the principal singers, its conductor and orchestra. In the course of two hours that go by rather quickly, a powerful Biblical drama is recounted and it sure packs a powerful punch, particularly in the climatic finale in which Samson, betrayed by Dalila, is blinded and chained to a wall which he later tears down with his own hands over the partying pagan Phillistines. The other recordings on the market have their individual flaws- James King sang Samson opposite Christa Ludwig in what was then the first studio recording of the work but neither voices are suited to this kind of opera since both King and Ludwig have primarily dramatic Wagnerian voices and their French is faulty. Agnes Baltsa and Jose Carreras sing with accurate diction and spin out beautiful lyric phrases but they don't sizzle or make a powerful impression. This is Domingo's second recorded Samson, the first was with Elena Obrazstova, whose Russian/Slavic, "Italian" trained overly dramatic interpretation doesn't make for a good Dalila despite her efforts, eventhough Domingo in younger voice is heroic and powerful.

Here, however, he is mannered and more in control, has a darker, edgier voice and is still as powerful as his earlier performance. Domingo lived all his role and Samson was no exception. He appears in a filmed production at the San Francisco Opera opposite a formidable Dalila- Shirley Verrett. Domingo's years of experience make this late recording a satisfying account in many levels. Fist, he has a command for the French diction, and this I say even in the faces of those critic's comments which state he never understood the French lyric repertoire as he did the Italian. He IS a superb French tenor, his Spanish blood does not detract from a powerful performance one bit. I urge his detractors to listen with unbiased ears to Domingo's accounts of Gounod's Romeo Et Juliette, Carmen, Faust, L'Africaine, Manon, Herodiade and Le Cid. He had a number of French operas under his belt by the time of this recording and he proves his tenor voice transcends all languages in opera. Furthermore, he lives the role. He is convincing as a Hebrew Hercules, masculine, spiritual, heroic but weak when it comes to women- women like the number one Biblical temptress Dalila. His duet with Waltraud Meier after the "Mon Couer" is very moving and this slow passionate moment is a relaxing one pitched against the intensity of the drama. Domingo steps up his dramatic singing in the final scenes. Ashamed, defeated (and this you can tell from his singing voice) he is chained to a pillar and made fun of by the cruel Philistines. His voice picks up energy and heft when he finally gets the strength to destroy his foes, to his own death. Domingo is without a doubt the best looking Samson and the best singing Samson. Perhaps, if Jon Vickers sang the role, he did so in a more dramatic Wagnerian manner which is also very appropriate but I have no idea if Vickers sang or even recorded the role. Until I find out, Domingo is the best Samson for me.

Waltraud Meier, a German soprano who garnered fame in the 80's as a primarily lyric soprano, steps up her own level of singing as Dalila, the perfect foil to Samson. Meier has a pretty voice, there is no doubt about that, even for a mezzo-soprano (traditionally the "uglier" voice next to the soprano voice; and whose roles include witches, bitches, old matrons or femme fatales). Meier's early repertoire included Mozart (Despina in Cosi Fan Tutte, Dona Elvira in Don Giovanni) but later she added Wagner to her resume - Venus in Tannhauser and even the role of Isolde. She acquired a more dramatic voice so that by the time of this recording, she was more in control and in mature voice. Consequently, her Dalila is the best on record. She lives her role, too, and has genuine chemistry with Domingo. Her account of the first part, in which her job is just to seduce Samson, she handles well. Her "Recharce Ma Presence" and "Mon Couer" are terrific and not overblown. But it at the last part of the opera where she truly shines. She is cruel, haughty and even imperious. It was probably to her advantage that Saint-Saens wrote the music to the opera to sound a tad like Wagner opera. Every music scholar knows that. While not overtly Wagnerian, this opera has moments of dissonance contrasted with pure beauty, dramatic outbursts and severe fatalism, the one thing Wagner was known for. Bizet's Carmen used the same kind of music. Therefore, in that one moment when Samson and Dalila argue after Dalila has declared her betrayal (Samson has told her the secret of his strength lies in his hair and she cuts it) that scene is sung and orchestrated as if it were the same argument scene in Carmen between Don Jose and Carmen. It may be the Bastille Opera orchestra or Chung's conducting but the opening scene of the opera- the Hebrew Chorus- prompted a friend of mine who works at a music store to claim that the music to that is greater than anything Wagner ever wrote. A pretty big claim but surely he was right on the money regarding the grandeur and virtuosity of this particular account on this recording.

The Chinest conductor Chung truly worked miracles with the music here, providing color and character, exoticism and tension. The Bacchanale is a beautiful account and the finale is riveting and even heartbreaking. Chung also conducted a superb score to Verdi's Otello in the last recorded Otello by Domingo which he sung opposite Cheryl Studer's Desdemona. That recording is largely considered the best and Domingo's best. Chung had a special rapport with Domingo and we get the same kind of magic and power in this recording. It does feel like it is rushed but it is not detrimental to the dramatic stregth of the recording.
7 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x96c40ce4) étoiles sur 5 Meier & Domingo sizzle! 29 février 2000
Par Un client - Publié sur Amazon.com
Format: CD
This is one of the best opera CDs ever. Plain and simple. You get the legendary Placido Domingo as Samson and the ravishingly seductive Waltraud Meier as Dalila. If you've never heard her before (or even if you have), this is your chance to hear the most erotic and sensual Dalila that you'll ever hear. Her French is unbelievably beautiful - - a very good language for her. And her tone is absolutely perfect as she finds emotions that other singers fail to express. The intelligence and fire of this performance make it well worth your investment.
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