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It was actually first performed on the stage in Germany, at Weimar, under the auspices of Liszt, on December 2, It took 15 years more to find its way to Paris; two years, that is to say, after it had been produced for the first time in France at Rouen.
The reception in each case was enthusiastic in the extreme. But what of London? There we were still indulging the innocent prejudices and habits of the Victorian era.
Samson might be acceptable enough as a Biblical opera on the continent; hither it could only be allowed to journey in the guise of an oratorio; and it was so given for the first time at a Covent Garden concert on September 25, , under the direction of Frederic Cowen. Never shall I forget that performance; it was a wonder the work ever survived it.
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Neither of the French singers engaged for the title-roles was present to sustain it. That was early in the preceding week.
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Mme Sanz followed to fetch them back, but, like them, failed to return. Only 16 years later, in , was it transferred to the Covent Garden boards in its proper operatic form and given nine times before crowded houses during that one season. It is now a popular item in every operatic repertoire. He began with the duet of which it is not only the principal feature but the indubitable gem.
The air, 'Amour, viens aider,' although it precedes the duet, was written at a later period. Upon this insinuating theme much of the music of the whole duet is cleverly based. Greatly as he admired Wagner, he never imitated him or his methods, and was extremely reticent in his use of the leitmotif. Like his intimate friend Gounod, he took a leaf in this respect from the rare example of Mozart.
The reason for the universal popularity of 'Softly awakes my heart', as the English version has it, apart from the suave elegance and sustained beauty of its melody, lies in the scope afforded by every phrase for the perfect display of the voice, the richness and texture of the tone, the purity and charm of delivery, the mastery of breath-control, and, finally, the pervading sense of that elusive quality which we call style. It is, therefore, an exacting piece to sing.
Mon coeur s’ouvre a ta voix
The supreme art of Pauline Viardot-Garcia must have made it sound very marvellous. I know that Elena Sanz did so, though I heard her only in a room.
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The contraltos and mezzo-sopranos of today who have recorded it on the gramophone do not, I am bound to say, impress me as having the peculiar gift for conveying its message as a tremendous love-appeal, something overwhelmingly passionate and irresistibly seductive. It is a way that contraltos have. I sat by the master's side in a box at Covent Garden at the performance of Samson et Dalila given as part of the London Jubilee Festival which I had the honour to organise , in June, , to celebrate the 75th anniversary of his artistic career.
The Dalila on that occasion was Mme Kirkby Lunn, whose fine voice was then, perhaps, at its very best.
Rethinking Sexual Agency In ‘Mon Cœur S’ouvre À Ta Voix’ | CORYMBUS
It is rather a scramble, but otherwise a good record. The tone is pure and characteristic, the French accent excellent. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Like one sees the blades Of wheat that wave In the light wind, So trembles my heart, Ready to be consoled, By your voice that is so dear to me!
The arrow is less rapid In bringing death, Than your love is By flying into your arms! New : Save your favorite arias, videos and singers! Tell me more - Check it later - Not interested. Show more videos of the same singers Hide more videos of the same singers. More videos Less videos. Sheetmusic in our database with this aria External links for Mon coeur s'ouvre a ta voix Sheetmusic for aria Sheetmusicplus.
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