The problem with the Pretre version is Pretre himself, a very dull reading, and what a pity because with Rita Gorr and Jon Vickers it could easily have been the greatest Samson et Delila of all time (this version could have been conducted by Monteux or Markevitch, just imagine that!).mcq wrote:Many thanks for that, Jose. I have to confess that the singing of Obraztsova did not particulaly offend me. I also have Prêtre's version and, despite the formidable presence of Jon Vickers, it just does not move me as much as Barenboim's version. There is a transparency to the textures that he draws out of the orchestral score that I find very attractive - very much lighter than Prêtre. And, of course, Domingo is incredible as Samson. I will certainly investigate the later version with Chung whose version of Verdi's Otello with Domingo was quite superb. And I have no doubt that Waltraud Meier is a vast improvement on Elena Obraztsova. Meier is one of the greatest modern interpreters of some of the most punishing roles in the operatic repertoire - namely, Isolde and Kundry - so the role of Delilah should be comparatively easier. By the way, have you heard any of Colin Davis's versions of this work?
The Barenboim shows that this opera really needs to be well conducted to make it´s mark, and Chung´s just bursts with drama and sensuousness. He has the enormous advantage of the marvelous Bastille orchestra, superb in every department and excellent EMI sound too. It´s fascinating to hear how much better French orchestras have become in the past 25 years, when France started putting serious money into culture.
And of course Waltraud Meier´s Delilah is formidable like no other, sung in perfect French she can be seductive and voluptuous one moment and deadly and vengeful the next. If you have heard her Kundry you will know what to expect.
Both Colin Davis recordings are enjoyable but flawed. The first in Philips has a Carmen and a don José instead of a Delilah and a Samson. I love Agnes Baltsa, and she is never less than very good, but Delilah needs a bigger and perhaps darker voice. José Carreras is 2 sizes too small for Samson, and sounds much too young for the role. In the Philips Davis has the superb Bayerischen Rundfunks forces at his disposal, and the choral and orchestral parts are tremendous. In his second recording he has another Russian mezzo, but Olga Borodina has a smoother and easier on the ear voice than Obraztsova. The real problem is the rough and inelegant Samson of José Cura. But overall I would say that Chung´s is the most vital, electric and satisfying version of the opera.
