About

Samson et Dalila

World Premiere:  Grosshertzogliches Theater - Weimar

December 2, 1877 

WBO Premiere:  Oct 14, 2011

Pictured: Interior view of the Grosshertzogliches Theater in Weimar

Camille Saint-Saëns wanted to write an oratorio on a biblical topic. He approached a talented young writer, Ferdinand Lemaire, who was married to one of the cousins of Saint-Saëns' wife, to write the libretto. Lemaire convinced him that he should write an opera instead. The decision was fateful. Most opera houses refused to stage a biblical topic.  Franz Liszt was impressed by the work and wanted to support the young composer, and he used his influence to get it staged in Weimar. The opera eventually became popular by the 1890's, entering the standard repertoire, and it was performed around the world. By the 1920's, the Paris opera alone had presented more than 500 performances of it.

Samson et Dalila is based on the story in Chapter 16 of the Book of Judges. The libretto skips over the initial characterization of Samson as a man of supernatural strength, dropping from the story the battles that resulted in Samson's fame, and focusing instead on Dalila, who is depicted as manipulative and bent on revenge.

The story is set in Ghaza in 1150 BC, and depicts the Jews as slaves of the Philistines. Guided by messianic visions, Samson leads a revolt during which he kills Prince Abimelech, and the Jewish slaves take control of the city. The Grand Priest of Dagon, the god of the Philistines, asks Dalila for help in discovering the source of Samson's supernatural strength. In the second act, in a powerfully dramatic scene in her tent, she seduces Samson and learns that the secret of his strength lies in his long hair. When he falls asleep, she cuts his hair and turns him over to the Philistine soldiers, who blind him and bring him in chains to the temple of Dagon, to be sacrificed. While a baccanal is in progress, he implores God to grant him a moment of his former streghth, and he dislodges the columns that support the temple, collapsing the roof over the Philistines.

José Luis Moscovich - Conductor and Stage Director

Peter Crompton - Set and Projection Designer

Callie Floor - Costume Designer

Danielle Ferguson - Lighting Designer

David Gillam - Makeup and Wig Designer

Shirley Benson - Props Designer

Giselle Lee - Sound Designer

Pictured: Floorplan for a set design by Peter Crompton

To be announced

Chorus

Orchestra

Kristina Anderson (concertmaster),



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Orchestra Librarian · Virginia Smedberg

Orchestra Manager · Christy Crews

* First appearance with West Bay Opera