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Samson et Dalila
Opéra Bastille - from 04 October to 05 November 2016
Samson et Dalila
Camille Saint-Saëns
Opéra Bastille - from 04 October to 05 November 2016
3h05 with 2 intervals
About
In few words:
"Strip the invulnerable shield from his heart and discover the secret of his strength."
Samson et Dalila, Acte II, scène 2
Lightning streaks through the skies as Dalila declares her love to Samson in one of the finest arias of romantic opera. “My heart awakens to your voice like a flower to the kiss of dawn.” An enchanting yet treacherous beauty… When the thunder at last rumbles, Dalila betrays Samson and offers him up to his enemies: “Come up, for this time he has shown me all his heart”, she whispers to them in the night (The Old Testament, Book of Judges). Based on a violent and erotic biblical story, Saint-Saëns’s opera – composed in 1877, much to Liszt’s insistence – would not be performed at the Palais Garnier until fifteen years later. This first Parisian performance in 1892 included the hitherto unperformed “Dance Of The Priestesses”. Nevertheless, it became one of the most performed French operas in the world, together with Faust and Carmen. Conducted by Philippe Jordan, this new production brings back a repertoire masterpiece that has not been performed at the Paris Opera for twenty-five years. Ever sensational as a femme fatale, Anita Rachvelishvili plays the murderous Priestess in a production staged by Damiano Michieletto.
CHARACTERS
Dalila: A Philistine seeking revenge on Samson
Samson: A brave Hebrew, famous for his strength, leader of his people
The High Priest of dagon: High Priest of the Philistines
Abimelech: Satrap of Gaza, the administrative governor
An old Hebrew
A Philistine messenger
Two Philistines
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Samson et Dalila
Opera in three acts and four scenes (1877)
In French
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Performances
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Advantages
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Book your tickets today with the Season Pass
Available in audiodescription
Advantages
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Gallery
Videos clips
Audio clips
Samson et Dalila - Camille Saint-Saëns
— By In partnership with France Musique
Backstage
© Bernard Faucon / Agence VU
Podcast
Podcast Samson et Dalila
"Dance! Sing! 7 minutes at the Paris Opera" - by France Musique
07’
"Dance! Sing! 7 minutes at the Paris Opera" offers original incursions into the season thanks to broadcasts produced by France Musique and the Paris Opera. For each opera or ballet production, Judith Chaine (opera) and Stéphane Grant (dance), present the works and artists you are going to discover when you attend performances in our theatres.
© Vincent Pontet / OnP
Article
Too human
About Samson and Dalila
03’
In Saint-Saëns' opera, the audience never actually witnesses the prodigious physical strength of Samson, nor do they see the famous scene where the Philistines cut his hair. The composer focuses less on the most familiar aspects of the legend to concentrate on the interstices: specifically, Samson’s inner conflict, torn as he is between his love for a woman and his role as the spiritual leader of an entire people.
Is Dalila guilty of betraying Samson? I try not to make a moral judgement which would risk undermining my interpretation of the work. Dalila is a complex character. She is not driven by cupidity: she refuses the gold which the High Priest offers in exchange for her complicity. She evokes the past: Samson is the only man to have rejected her – on three occasions – and he continues to resist her by refusing to reveal the source of his strength to her...
The love duet between Samson and Dalila is truly moving. Samson is prepared to go back on his word and forget who he is. In my production, instead of revealing his secret, he ends up cutting a lock of his own hair, deliberately renouncing his power and his status as leader. When Dalila understands this, something changes in her. She becomes even more ambiguous.
The last protagonist in the drama – no doubt the most important – is, of course, the community. I chose not to pigeonhole the Israelites, preferring to define them by their condition: slaves. They are an oppressed people. I have chosen to deal with the Israelites and the Philistines in a resolutely contemporary setting to ensure that the legend is more connected to our reality and our emotions. All the same, during the Bacchanal, as if in a leap back in time, the Philistines dress up in peplum costumes. In so doing the crowd embodies a corrupt society—a society which extols strength and wisdom, even though it is built upon violence and humiliation, just like in the arenas of ancient times where gladiators were killed and their blood spilt to entertain the public.
© Bernd Uhlig
Article
Schönberg, Verdi, Wagner and Berlioz: the commitment to cycles
A fresh look at season 15/16
05’
During
the summer break, we offer our readers a retrospective glaze on Stéphane
Lissner’s first season at the Paris Opera. The rhythm of season 15/16 was
marked by recurring “rendez-vous” with composers whose work, essential or
enigmatic, appeals to invention and discovery. Between revivals of timeless
productions and creations, these diverse companionships set the tone for an
eclectic operatic season, revealing the inexhaustible quality of the Paris
Opera Orchestra and Chorus.
"Dare!"
"Vibrate!"
"Desire!"
Ce spectacle fera l’objet d’une captation audiovisuelle
Une co-production Opéra national de Paris et Telmondis avec le soutien du CNC et la participation d'Arte Concert, réalisée par François-René Martin.
Diffusion en direct au cinéma le 13 octobre, diffusion sur Arte Concert à partir du 14 octobre.
Diffusion sur France Musique le 23 octobre.