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Unlike Voltaire’s character for Rameau’s opera on the same subject, Fernand Lemaire’s Dalila does not lust for the Biblical hero instead, she uses her sex and allure as a weapon against the weaker Samson. Most appealing is his Act II interaction with Dalila, “ En ces lieux, malgré moi…” and the Act III prayer like “ Vois ma misère, hèlas.” There are many worthy moments in this recording as well as some minor flaws, and the three principals, Domingo, Obraztsova, and Bruson, give a valiant and exciting performance.ĭomingo, who still sings this role, had not yet developed the excessive nasal tone which would later plague him, and at the time of this recording he gave the leading character a youthful vigor and naiveté not usually found in other interpreters. This two CD set is a budget re-issue originally recorded in July 1979, following a performance at the Théátre Antique National d’Orange. The Bacchanale, the most criticized part of the work, is an orgy of sound and decadence mixed with Samson’s cry for redemption-a fitting end to the opera.
Saint-Saëns’ music is at times heroic, seductive, compassionate, and spiritual. In Samson et Dalila, Saint-Saëns presents a tightly woven and seamless score from which not one note can be spared, not one instrument or voice is miscast, and no situation in the libretto not perfectly matched to the score. Saint-Saëns, the singer Pauline Viardot to whom the opera is dedicated, and Augusta Holmes. In addition, the character of Dalila is a composite of three very influential, at times detrimental, women in the composer’s life: his mother Mme. Upon closer scrutiny into the composer, one can see that the opera mirrors Saint-Saëns’ personal situation and the political struggle in France during the composer’s youth. The opera, conceived in 1867, was premiered at Weimar in 1877, through the influence of Saint-Saëns’ friend, Liszt, and it would not be staged in the composer’s homeland until 1890.
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