This is the second
Stokowski Society operatic recording
issued by Cala to come my way. In the
first, extended scenes from Boris
Godunov, and an orchestral arrangement
of Act 3 of Parsifal, I noted
that the English-born Stokowski (1882-1977)
was not renowned for his work in the
opera pit. Despite that I found his
conducting of Rimsky-Korsakov’s refulgent
orchestration of Mussorgsky’s original,
and Nicola Rossi-Lemeni’s singing, thoroughly
recommendable. ( LINK)
On the present disc Stokowski chooses
composers who, whilst better known for
their orchestral compositions, also
composed several operas. Saint-Saëns’
works include twelve operas of which
Samson et Dalila (the disc cover
and text uses the English form ‘Delilah’)
of 1877 is the only outstanding example
which is played today. Of Tchaikovsky’s
nine completed operas, Eugene Onegin
(1879) and The Queen of Spades (1890)
(LINK)
have maintained a place in the repertoire.
Outside Russia The Maid of Orleans (1881)
and Yolanta (1892) also make occasional
appearances. Of Tchaikovsky’s other
operas several are available in recordings
derived from performances in Russia.
The Samson and Dalila
extracts on this disc are derived from
RCA copy-master-tapes whilst the Tchaikovsky
is from an HMV LP. In both cases the
sound is of a very acceptable standard.
The booklet gives all words with English
translation. I am, however, more equivocal
regarding the conducting and the singing.
The role of Samson requires a heroic
tenor voice. Jan Peerce, a stalwart
of the Met in the lyric tenor repertoire,
never sang the role of Samson on stage.
Whilst his voice has some heft he lacks
the weight of tonal colour the role
ideally requires and he sounds stretched
at times (trs. 1 and 7). Robert Merrill
has the necessary weight of tone for
the High Priest but his singing lacks
expressive nuance and his French is
questionable (tr. 4). Risë Stevens
sang Dalila at the Met in 1940, 1941,
1953 and finally in1958. An admired
Carmen her French is far superior to
that of her compatriots. She brings
a wealth of stage experience in the
role to Dalila’s two great solos in
the opera, Printemps qui commence
and Amour! Viens aider ma faiblesse!
(trs. 2 and 3) and the duet with Samson
Mon coeur s'ouvre à ta voix
where Peerce phrases well and is suitably
ardent (tr. 6). Whilst Risë Stevens’
lower register isn’t as refulgent as
that of Rita Gorr on the 1962 stereo
recording (EMI) or Olga Borodina on
the more recent Erato issue, her smooth
legato, sensuous phrasing and characterisation
shine through. Stevens’ understanding
of her role is not matched by Stokowski’s
conducting which is neither illuminating
or vibrant with a rather flaccid Bacchanale
(tr. 8).
The Tchaikovsky fares
somewhat better in the conducting stakes
if not the singing. Stokowski shapes
the composer’s phrases and supports
his singer, something not all predominantly
orchestral conductors do. The Italian-born
Licia Albanese is just not into the
role. I was not surprised to read, in
the brief booklet note, that she had
never sung the role before this recording
and learnt the Russian for it.
When first issued these
performances were well received. Since
that time many recordings of the complete
works, and recitals, have placed them
in more realistic perspective. Stokowski
enthusiasts will welcome this perspective
and rare examples of his conducting
in this repertoire. Others more interested
in the contents should look elsewhere.
Robert J Farr
Leopold Stokowski Symphony Orchestra/ Leopold
Stokowski 
