Met Samson et Delilah Review

I wish to review the first Met Samson and
Delilah of the present season. Generally speaking,it was a satisfying,
but not memorable show. The orchestra and especially the chorus were
splendid and I found the stylized production more satisfying live than
on the previous telecast,although act two lacks the exotic flavor with
the absence of a tent and a divan. I did like the lighting effects and
the various scrims,and although the Bacchanale was not as exciting as
the previous Met production, it was still quite fine,and a highlight of
the evening.
Marina Domashenko has a very beautiful and rich voice,and act one
was especially affecting, but she lacks the power for the heavier act
two declamatory scenes, and the lower voice is practically inaudible in
a role that demands a Shirley Verrett or a Rise Stevens to make the
proper impact. I would prefer to see her in a work that was more lyric
throughout, but it is really a beautiful instrument.
Clifton Forbis possess a truly Wagnerian size voice.It is
not especially beautiful,and at times tends toward throatiness,
although the Mill Scene and last scene showed much more of a clearer
quality. The top is quite brilliant,and he was a very fine Samson.I did
not find myself upset that Placido did not sing, because Mr.Forbis was
much more than adequate.The only resemblance to Placido was that the
last note was totally hoarse, but we can forgive both Mr.Forbis and the
fine Placido. I only wish the effect of the temple falling was more
spectacular. Were I a Philistine,I do not think I would be quite that
afraid (although some people think of me as a Philistine anyway.)
Messieur Lafont evoked the ugly sound of Sergei
Leiferkus. His large voice is really about 12th rate in intrinsic
quality, and while he acts well, the basic sound is totally
objectionable. I also wonder why he, a born Frenchman, sings his final
"e" vowels almost like "ey" ( e.g. "gloireh" becomes "gloirey.") It
reminded me of the bad French of Franco Corelli, but I feel that
Mr.Lafont must decide to produce these vowels in this way for some
vocal effect. I only know that there must be at least 50 baritones at
the Met who would do justice to this role.
Messrs.Coutney and Youn were fine in their act one scenes. I had a
nice time,but I would have wanted a Delilah with more heft, and a
baritone with a decent voice.
My best Charlie

Yes indeed...a chance to read a good...on topic...post about CH's
personal
thought's of an operatic production. This is the kind of post the
great,
vast majority (if not ALL) RMO denizens find pleasure and interest in
reading.

Good post Charlie.


MANY thanks...and i do truly appreciate it,especially since we have
been "at odds."...something I never wanted.

I used to post exclusively like the articloe on Samson...but admit I
fell into the mud when I got flamed.....will try to kep my head above
water.


as ever Charlie