|
|
|
|
|
|
|
|
•
José Cura Brings the House Down!
Cura conquers again with his remarkable Samson; New York audience greet his return with ovation
Though a sizable contingent of opera connoisseurs and critics have long considered Saint-Saëns' "Samson et Dalila" a musically tepid melodrama, this 1877 opera has been an enduring favorite with audiences. It's not hard to understand why.
The score offers alluring arias, a justly famous seduction scene and some rousing, faux-exotic music for the bacchanalian dance scene when the giddy Philistines at the temple of Dagon celebrate their triumph over the Hebrews. Moreover, the opera contains two vocally juicy leading roles.
Still, without strong singers in the title roles "Samson et Dalila" has no chance of working.
Elijah Moshinsky's 1998 production for the Metropolitan Opera returned on Monday night starring a veteran Dalila, the mezzo-soprano Denyce Graves, who sang the role at this production's premiere. But the Samson of the tenor José Cura, returning to the Met for the first time since his debut performances as Turiddu in "Cavalleria Rusticana" in 1999, is the big news of the revival.
The 42-year-old Argentine tenor has had an unorthodox career, which began with extensive training as a conductor, choral director and composer. He was 30 before he committed to a career as an operatic tenor. With his powerful voice, hunky physique and animal magnetism he quickly developed an ardent following. But at his Met debut his voice still seemed a work in progress.
His performance of Samson suggests he has picked up ground in the years since. Vocal purists may still fault his singing for its lack of finesse and the sometimes patchy quality of the legato phrasing. But the clarion power and burnished colorings of his voice offered exciting compensations. Clearly a solid musician, he sang with rhythmic integrity and admirable dynamic shadings.
Still, it was sheer vocal willpower and dramatic risk-taking that gave his portrayal such impact. During the love scene, he sang Samson's climactic top notes lying on his back with Ms. Graves cuddled over his chest. In the prison scene, when Samson, blinded, shorn of hair and sapped of power, turns the mill wheel to which he is chained, Mr. Cura captured the pitiable state of this broken man through his halting steps and anguished singing.
One wishes that Ms. Graves had had as good a night. As always, she
looked glamorous. An uncommonly beautiful woman, she conveyed Dalila's
seductiveness naturally, without any sense of effort or silly posturing. And
when she danced along with the women from the temple of Dagon, Ms. Graves
carried herself like a member of the Met's ballet corps.
The earthy, rich tones of her sound are ideal for the role, and she understands that refinement and restraint are part of the French vocal style.
But her voice did not consistently do what she wanted it to. Noticeably tentative in Act One, she roused herself in Act Two and delivered her strongest singing when it counted, during the love duet. But her sustained notes sometimes wobbled and she had trouble singing softly. By Act Three her voice sounded unsteady again. One hopes the problems were due to opening-night jitters.
Though "Samson et Dalila" is essentially a two-character show with a large chorus, the supporting roles were ably sung by the baritone Jean-Philippe Lafont as the High Priest, the bass-baritone James Courtney as the tyrannical Philistine Abimelech and the bass Vitalij Kowaljow as an old Hebrew. Mr. Moshinsky's production, with sets and costumes by Richard Hudson, straining to capture the licentious and exotic aspects of Saint-Saëns' take on the Biblical tale, fills the stage with moving scrims and walls brush-stroked in lurid reds and oranges. Huge spiky cones are meant to represent temples and palaces in Gaza. And once again, the Met dancers and a large roster of muscled male extras dressed in loincloths pranced about during the campy bacchanal scene.
The impressive conductor Bertrand de Billy brought such vigor, color and surprising dignity to Saint-Saëns' score you almost forgot its stretches of stodgy contrapuntal writing. But Mr. Cura's Samson is the reason to take in this revival.
*
Cura Returns to Met
When Jose Cura arrived at the Metropolitan Opera in September 1999, he
became the first tenor since Enrico Caruso in 1903 to be given a debut at the
house's opening night of the season.
But after his three performances as Turridu in "Cavelleria Rusticana" over an eight-day span that fall, Cura stayed away from the Met, building his career as a singer and conductor in Europe.
He returned triumphantly this week in the Met's revival of Saint-Saëns' "Samson et Dalila," displaying the clear, robust voice and steamy good looks that have earned him acclaim. Based on Thursday night's performance, the second in a run of seven through March 19, the 42-year-old Argentine has become a major artist.
Cura combined with mezzo-soprano Denyce Graves for a moving love scene in the second act, when both took turns singing while lying on their backs. With blood on his face and his voice filled with pain, he was thrillingly dramatic as he turned the mill at the start of the third act, after his hair had been cut and he had been blinded.
His French phrasing occasionally sounded less than perfect, but that didn't detract from the overall portrayal. In the post-Three Tenors era, he is among the most exciting tenors around.
Graves specializes in Dalila, the Philistine woman who betrays Samson at the behest of The High Priest of Dagon, and she starred when this production debuted in February 1998. She looked gorgeous in colorful gowns and her singing was generally strong, although there was some slight loss of luster when she shifted registers. She sang her great second-half love song, "Mon coeur s'ouvre a ta voix (My heart opens to your voice)," almost entirely on her back.
Jean-Phillipe Lafont (The High Priest), Vitalij Kowaljow (An Old Hebrew) and James Courtney (Abimelech) also gave strong performances, and conductor Bertrand de Billy drew a nuanced, energetic sound from the orchestra. The Met ballet, choreographed by Graeme Murphy, gave one of its strongest efforts during the Bacchanale.
The abstract Elijah Moshinsky production, featuring bright orange-hued sets and colorful costumes by Richard Hudson, remains handsome.
*
The Met's Samson Win Raves in Overseas Press
'Cura is not only an extraordinary vocalist but thanks to his experience as a conductor and a universal musician, he's a rare example of a thinking tenor.'
Written by Roman Markowicz. Translated by Iwona Pomes.
The mezzo-soprano Malgorzata Walewska has become another Polish artist who has had the privilege of performing at the Metropolitan Opera. This wasn't an ordinary debut, either--it was a leading role in Saint-Saëns’ Samson et Dalila. Unfortunately, it turned out to be Mrs Walewska's one and only performance in the US this season. She replaced Denyce Graves, who sang the role of Dalila in all other performances. The entire production was originally prepared in 1997-98 by Elijah Moshinsky, a favorite of Met's management. I'll talk about the production later. It seems Mrs. Walewska had limited chance to rehearse, though she might not have needed much, since she has sung the role of Dalila in European opera houses. Those listeners who don't know Samson et Dalila note by note might have thought that the conductor, Bertrand de Billy, didn't have any problems bringing the orchestra into the line with her concept. The famous Argentinean tenor José Cura was Walewska's vocal partner. He not only has a strong, sonorous, black-coloured voice, but he's built well enough to kill Philistines convincingly. Nobody could doubt the sexual chemistry between the leading characters.
Walewska's mezzo-soprano sounded attractive, though it's not as strong as that of Denyce Graves or Marilyn Home or Fiorenza Cosotto. Sometimes I felt there was an insufficiency in the lower register. Comparing Walewska with Borodina (a famous Dalila) I would say that the Russian was like coffee with cream and the Pole more like coffee with fat-free milk.
But I don't want my readers to think this performance was anything less than a spectacular success. Mrs. Walewska was well prepared and convincing. The entire second act was devoted to Dalila. Her famous aria “Mon coeur s'ouvre a ta voix” was so tempting that one could hardly think how Samson could resist Dalila's charms! An ovation was evidence of the audience's approval. What's more, Mrs. Walewska looked very sexy in her blue dress. Undoubtedly, the presence of some American opera houses directors in the audience was not accidental—it seems she will perform in America again soon.
Along with the baritone Mariusz Kwiecień and soprano Aleksandra Kurzak, Walewska continues a positive trend of representing Polish singers at the Met.
However, Samson is a real hero of this opera and José Cura was the main attraction in these performances. His Samson is a charismatic Israelite leader, a warrior as well as Dalila's former lover. The beginning of Act III was the most dramatic, impressive and convincing moment of this staging. The captured, betrayed, shorn and blinded Samson turns the millstone, shackled to it. Effective lights illuminate the tragic leader who betrayed his nation because of his love for Dalila. Samson asked God to save the Israelites and to punish only him. His aria “Vois ma misere, helas!” was one of the strongest moments in the opera. Cura is not only an extraordinary vocalist but thanks to his experience as a conductor and a universal musician, he's a rare example of a thinking tenor. That's something!
Back to the staging, it makes me feel uncertain about the level of its stage management, scenery and costumes, etc. They were absurd! According to Moshinsky's vision, the Israelites looked like characters from “Fiddler on the Roof.” The Philistines resembled a gang of wild and uncouth African ape men carrying spears. It wasn't astonishing—it was embarrassing and ridiculous. Their Priest was carried to the stage on something that reminded me of a pseudo-raft. Three conical objects--probably meant to be trees--were the only decoration on stage during Act II, each stamped with branches that looked like a bigger version of a male beard usually seen on TV commercials. Disgusting!
The famous bacchanalia in Act III was the most tasteless of all. I don't know if Saint-Saëns was forced by French operatic conventions to put a ballet scene filled with frivolous, importunate and oriental motives. It looked like an orgy. Dancers simulated different ways of copulation. Perhaps due to my lack of imagination, I couldn't find any logic and cohesion of the dance with Samson's tragedy. Finally, due to composer's miscalculation the final scene lasted only a couple of seconds. Overall, I wouldn't have lost anything if I saw “Samson et Dalila” in concert version.
Bravo Cura and Walewska!
I'll tell you one thing more. My goal was to congratulate Mrs. Walewska in person backstage. For those who don't know, not everyone can get backstage at the Met for security reasons. Although I was on the list of people allowed to go back, my wife wasn't. The guard refused to let her in. He asked me to choose between the pleasure of being accompanied by my wife and congratulating Walewska. I decided to stay with my spouse. At the same time I realized that if anyone attacked NYC again, the cloakrooms at the Met would be the safest place in town. There's no way for a terrorist to attack Metropolitan Opera if his or her surname is not on the guest list...
Roman Markowicz is from New York City.
*
Samson et Dalila
Opera News, 2/21/05
John W Freeman
Camille
Saint-Saëns, who used to visit North Africa to savor its culture in
depth, would have had trouble recognizing it in designer Richard Hudson
and stage director Elijah Moshinsky’s 1997–98 Samson et Dalila,
which returned to the Met stage on February 21. The only regular success
among the French master’s dozen operas, Samson, first staged in
1877, set the tone for a spell of exoticism in turn-of-the-century
opera, following the lead of Aida and Goldmark’s once popular
Die Königin von Saba, offering hints for Massenet’s Thaïs,
Strauss’s Salome, Rabaud’s Marouf and Schoenberg’s
Moses und Aron. Moshinsky and choreographer Graeme Murphy tried to
save Samson from its reputation for stodginess by layering on Las
Vegas glitz, though the second scene of Act I profits from low-budget
understatement. The current staging is supervised by Peter McClintock.
The performance was well rehearsed, and everyone onstage worked hard,
especially the energetic dancers in the Act III bacchanal, a
pseudo-sub-Saharan nightclub orgy quite alien to the Philistines of the
Bible, a Mediterranean people. What Samson needs for sure is a
pair of strong protagonists, and it had them: José Cura, returning to
the Met for the first time in five years, and Denyce Graves, an old hand
from the creation of the present production. Another pillar of strength
was Bertrand de Billy on the podium, giving the reverent, grieving,
oratorio-like choral pages of Act I the breadth they needed while
keeping the texture open, bringing out the coloristic perfume of Act II,
the stimulus of the bacchanal and the buildup of dramatic tension in all
three acts. The orchestra responded with grace to Saint-Saëns’s clear,
elegant scoring.
To his first Met Samson, Cura brought a portrayal in which spontaneous
vocalism was tempered with earnest depth, both in the hero’s devout
faith and in the conflict he suffered because of his weakness for
Dalila. Given the physique du rôle and a voice of heroic
strength, the Argentinian tenor could encompass both rueful piety and
volcanic resources of energy. With his direct manner and unruly, almost
experimental technique, Cura is an exciting singer who breathes both
life and thought into a character. He immersed himself in the role,
putting to expressive use the arresting rough edges of his full-throated
sound. In Act I, he acted and sang with restraint before rising to
eloquence as he exhorted his people. Faced with Dalila, he wrestled his
inner demons, emotional turmoil revving like a dramatic engine. In Act
III, only sincerity and fervor saved him from hamming it up as he played
out Samson’s despair in defeat. When he rose at the last moment to find
himself again, the resurgence of his strength was palpable.
Saint-Saëns seems to have had the legendary Pauline Viardot in mind as
model for Dalila, and his vocal writing is full of register jumps within
the contours of a phrase. In her years with the role, Graves has managed
to etch her diction a little more sharply even while her voice,
officially a mezzo-soprano, has deepened in contralto hue and richness.
She looks splendid in the part, and in Scene 2 of Act I she joined the
dancers in sinuous movement. (As if in tribute to the Christo gates then
on view in Central Park, the girls wore flowing saffron-colored shifts.)
Treading deliberately at first, Graves hit her stride in Act II, putting
Dalila’s intent and skill to work on Samson so that an immovable force
seemed to be meeting an irresistible object. She sang “Mon coeur s’ouvre
à ta voix” recumbent on the floor, while Samson replied flat on his back
— not the easiest feat for either of them, but most effective. Only in
Act III, where Dalila’s lines suddenly lunge into the stratosphere, did
her composure briefly falter.
Samson, like Gounod’s Roméo et Juliette, is a two-star
event, yet the minor roles are major. Bass-baritone James Courtney
proved this with his short but commanding stint as Abimélech, the
haughty satrap whose taunts get him killed in the first scene. In the
heftier, more pivotal role of the High Priest, baritone Jean-Philippe
Lafont was announced as suffering from a cold, which held him back,
vocally but not dramatically, from goading Dalila to do her worst with
Samson. A still, strong voice of conscience and reason came from bass
Vitalij Kowaljow as the Old Hebrew. Despite the B-movie ambience of this
production, the conviction and high competence of the current revival
made a hearteningly strong case for Saint-Saëns’s period piece.
Last Updated: Sunday, January 08, 2006
© Copyright: Kira
