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'Somewhat limited in the scope of its story, 'Samson' is the only Saint-Saëns opera to have survived in the repertoire, as well as one of the few by any Frenchman. Indeed, its biblical subject matter retarded its arrival in Paris until 1892, 15 years after Liszt had recognized its considerable musical merits and had facilitated its world debut in Weimar. These merits include a well-shaped seduction scene between the two title characters in the second act, as well as moments of wrath for Dalila and agony for Samson outside of this encounter. Both Cura's and Borodina's voices impressively depict this spectrum of emotions. Cura has a muscular tenor matching his physique, strongest at the top of his range, and a good actor's depth of characterization, while Borodina displays a heady mix of richness and delicacy in her soprano. Lafont credibly depicts a bigoted, wrathful zealot, Lloyd a sweet basso veteran. Much of the melodically loveliest music seems to belong to the Philistine women, sung entrancingly here by the chorus, and Davis gets the greatest possible drama through careful pacing and highlighted dynamics.'  CDConnection

 

'José Cura is a world-class Samson. His powerfully masculine tenor, dark in timbre, ardent but never self-indulgent, has earned the young Argentinian a deserved reputation as a successor to Domingo. There is a thrill in his voice, a presence even on disc, which gives the uninitiated a sense of the committed, affecting impression he must make onstage. Cura sings with a genuine sense of discovery, and he shades his performance beautifully.  The hushed desolation he projects as the blinded, enslaved Samson is a poignant surprise after the virile hero-lover....'  Joanne Sydney Lessner, Opera News, February 1999

 

'And the climax of "mon coeur s'ouvre a ta voix" is surely one of the steamiest scenes captured on disc, though its sexiness has nothing to do with buff physiques and everything to do with gutsy, compelling musicianship... from Cura, the half tints of an heroic voice breathless with longing, caressing Saint-Saëns sinuous vocal lines, surging in to an exultant B-flat that speaks as much of erotic rapture  as it does of a tenor nailing his money note.'

Marion Lignana Rosenberg, American Record Guide, Sep-Oct 1999

 

'Where Samson is concerned Cura provides the truly heroic timbre and dramatic declamation his part requires, and he is as sensitive as perhaps any Samson on disc, especially in Act 3 where he sings Vois ma misere, and the asides while taunted by Delilah later on, in a mezza  voce as if communing with himself. In Act 2 he responds to her false expressions of love with true passion in his tone.'  Alan Blyth, Gramophone, January 1999

 

'...Cura is the real thing, one of the most thrilling voices of this or any other generation and an artist of immense promise.  San Francisco Opera fans discovered him early, as Don Jose in "Carmen."  Now here he is in another of French opera's towering roles, and his interpretation ranks him with the best Samsons on record....The tenor's phrasing boasts the sort of natural ease that was more common before World War II, with ideal breath support dramatically deployed and a way of shaping words that is nothing short of miraculous.'  Octavio Roca, San Francisco Chronicle, December 1998

 

'Cura is subtle and inward in the first two acts, and finds a different mode of expression altogether--by turns despairing and forcefully heroic -- for Act III (by then blinded, bound and betrayed).'  Stephen Maddock, BBC Magazine, February 1999

 

'José Cura is quite magnificent, justifying the belief of all those who see him as the white hope of the tenor scene.  He not only sounds like a hero, strong and intense, he also sings with subtlety and the large dynamic range that one expects in this role.  His responses to Dalila in the climatic love scene are sung with astonishing refinement and restraint, all the more effective in the context of the steam coming off Dalila's tone.'  Michael Tanner, Classic CD, February 1999

 

'The cast is exceptional.  José
 Cura, the latest Puccini tenor to come along, gives an intense performance as Samson.  Throughout Acts I and II, Cura compels listening, and easily communicates the Israelite hero's emotional turmoil, troubled by his love of God and country, and his feelings for Dalila.  Cura's musicianship is first-rate, and he works hard at vocal nuance.'  Robert Workmon, Journal Now

 

'Samson et Dalila is having a renaissance, and not because it's great music. Though there are patches of seductive stuff, the opera is being pressed into service for the growing number of acclaimed mezzo-sopranos, since the role of Dalila is one of the few 19th-century star vehicles for that voice type. This recording boasts the vocally resplendent Russian mezzo Olga Borodina, but tenor José
 Cura is the dominant presence, heard here in his strongest operatic recording yet. While his voice has been known to go slack at lower volumes, he seems uniformly secure. His characterization also has all the necessary heroism, along with thoughtful, touching pianissimos after Samson loses his strength. ... [C]onductor Colin Davis, the real star of the set, gives this opera the same shimmering aura of his great Berlioz interpretations, as if this were a poor man's Les Troyens. Shimmer comes courtesy of the fine London Symphony Orchestra and the slightly-too-reverberant recording venue, Walthamstow Assembly Hall.'  David Patrick Stearns

 

'The complete Samson is thoroughly recommendable on all counts.'  Marc Mandel, Andante

 

The Maturing of José Cura

 The Argentinean has recorded Samson et Dalila under the direction of Sir Colin Davis. Cura proves authoritative and decisive. The Russian Olga Borodina excels as Dalila.

 Armando M. Rapallo

Wednesday, December 23, 1998

Buenos Aires, Argentina

After his successful recordings devoted to the works of Puccini—with Plácido Domingo as mentor and conductor—and to selections of the Argentine repertoire (Anhelo), José Cura, the tenor from Rosario, has now tackled his first complete opera in a studio setting with Samson et Dalila, the most outstanding work of Camille Saint-Saëns, recording it between July 21 and 27 of this year at London’s Walthamstow Assembly Hall.

Cura talked with Clarín on the same day that he completed the recording sessions—conducted by the Englishman Sir Colin Davis—expressing his satisfaction with what had been accomplished. His approach to the recording underscores again the virtues already exhibited on both his Puccini CD-- a veritable masterpiece of delivery and diction—and his subsequent CD of eclectic selections. The difficult role of the Hebrew hero created by Saint-Saëns based on the libretto of Ferdinand Lemare, is taken on by the Argentinean tenor with impressive authority, especially if one bears in mind that his career has been relatively short.

Already in his first appearance-Arrêtez ô mes frères- Cura’s perfect attack and stupendous French diction stand out immediately, as do his skillful inflections in the …donner ma vie and his well-placed high notes at the beginning of the second act. Striking is the maturity of expression that he brings to his character’s strange mixture of passions; striking also his assimilation of text and score. Both demand a tenor with exceptional lyrical-dramatic traits. Cura introduces the wonderful passage of the millstone scene in the prison with plaintive accents and restrained vocal power. His interpretation of Vois ma misère, hélas… is exemplary in its placement of sound so that a very special atmosphere is achieved by the time of the final heroic plea in the Philistine temple.

For the Argentinean artist, this incorporation into the cramped group of recordings of Saint-Saëns’ work is turning into a huge success. As to his interpretive style, Cura’s approach to the leading role recalls the great Samson created by Ramón Vinay (recorded live in 1960 and for those with good memories of the Colón, his memorable appearance with Sir Thomas Beecham in 1958) while not detracting in the least from the memories of the great Samsons like Jon Vickers and Plácido Domingo.

Samson… cannot have a mediocre Dalila. The Russian singer Olga Borodina is a heroine of excellent vocal resources and innate expressiveness. From her Amour! Viens aider ma faiblesse! to the splendid  Mon coeur s’ouvre à ta voix, Borodina offers musical subtlety and a range which-- because of the amplitude and generous display of vocal ability-- is perfect for the part of Dalila. Sir Colin Davis’ musical direction is suitable. Concerning the rest of the cast, the nobility of the singing by English bass Robert Lloyd as the proud Old Hebrew must be emphasized.  (translated by Monica)