Sunday Classics preview: Risë Stevens (1913-2013)

Risë Stevens as Prince Orlofsky (who may be blasé about
most worldly matters, but not about his beloved champagne)

J. STRAUSS II: Die Fledermaus: Act II, Champagne Trio

Risë Stevens (ms), Prince Orlofsky; James Melton (t), Eisenstein; Patrice Munsel (s), Adele; Robert Shaw Chorale, RCA Victor Orchestra, Fritz Reiner, cond. RCA, recorded c1950

by Ken

No, Risë Stevens didn't make it to the 100 mark, but most of us would settle happily to make it into our 99th year.

She was a Met mainstay for more than 20 years, from 1938 through 1961, and sang a number of signature mezzo roles well enough that we've heard her a lot here in Sunday Classics -- as Bizet's Carmen, Saint-Saëns's Dalila, Gluck's Orfeo, Richard Strauss's Rosenkavalier ("Rose Knight") Octavian, and, yes, even Johann Strauss's Prince Orlofsky. As a result, although we'll be hearing some new material as well, much of what we'll be hearing in this week's remembrance will be a refresher for us.


SINCE WE'VE ALREADY HEARD STEVENS SINGING
WITH POPULAR MET TENOR JAMES MELTON . . .

. . . here's a tidbit I found which we haven't heard, Jerome Kern and Ira Gershwin's "Long Ago (and Far Away)," written for the 1944 film Cover Girl. It's apparently from a broadcast from the year the film was released.




AND TO REMIND OURSELVES THAT STEVENS
WAS AFTER ALL A SERIOUS SINGER . . .

Here again is the brooding, impassioned opening of Act II of Samson et Dalila, in which we find Dalila awaiting the arrival of Samson, and making clear that she doesn't wish him well. We first heard this performance in a June 2012 post called "Among our team of operatic avengers, which does Saint-Saëns's Dalila resemble most?," part of a series of posts devoted first to Samson and then to Dalila. The latter included a preview post "In which we hear a lady weighted by a heap of hurt."

SAINT-SAËNS: Samson et Dalila: Act II, Prelude; Recitative and Aria, Dalila, "Samson, recherchant ma présence" . . . "Amour, viens aider ma faiblesse"

The stage represents the valley of Sorek in Palestine. At left, the dwelling of DALILA, fronted by a light portico and surrounded by Asiatic plants and luxuriant vines. Night is beginning, and becomes complete through the course of the act.

Prelude

At curtain rise, DALILA is seated on a rock near the portico of her house, seeming lost in reverie.

DALILA: Samson, seeking my presence again,
this evening is to come to this place.
Here is the hour of vengeance,
which must satisfy our gods.

Love! come aid my weakness!
Pour the poison in his breast!
Make it happen that, conquered by my artfulness,
Samson is in fetters tomorrow!
In vain would he wish to be able
to chase me out of his soul, to banish me.
Could he extinguish the flame
that memory feeds?
He is mine! my slave!
My brothers fear his wrath;
I, along among all, I defy him
and hold him at my knees!

Love! come aid my weakness!
Pour the poison in his breast!
Make it happen that, conquered by my artfulness,
Samson is in fetters tomorrow!
Against strength is useless,
and he, the strong among the strong,
he, who broke his people's chains,
will succumb to my efforts.

Risë Stevens (ms), Dalila; Metropolitan Opera Orchestra, Fausto Cleva, cond. Live performance, Apr. 12, 1958


IN THIS WEEK'S SUNDAY CLASSICS POST

As I said, we'll be hearing Risë Stevens in a number of her signature roles, with maybe a surprise or two along the way.

#