It’s high kitsch. Roberto Alagna and Elina Garanca star as the title characters in the Metropolitan Opera's new production of Saint-Saëns's "Samson et Dalila," which opened the season on Monday. A few weeks later, the opera was shown as part of the Met’s series of live cinema transmissions, featuring an exceptional cast. The production returned to the Met in its 2018–19 season. The somber orchestral music is thick with heaving strings and earthy thuds. While critics found the transposition of the biblical setting to the 20th century unconvincing, the singing received high acclaim. On the Metropolitan Opera stage, it premiered in 1895. But the result sounded more ponderous than tragic. Indeed the orchestration in Samson et Dalila is rich and intensely lyrical particularly for the seductive scenes in Act 2. Disclosure: I am always looking for the offerings that I believe my readers will value. Sir Mark Elder is directing The Met’s first production of the work in 20 years. In a great performance, and an insightful production, these qualities distinguish the opera from other late-Romantic melodramas. He meets the voluptuous Dalila, who is determined to seduce Samson, so that she can discover the secret of his strength – for … This three-act grand opera was first performed in Weimar at the Grossherzogliches (Grand Ducal) Theater on December 2, 1877. Later the Met revived the work in its 1915/1916 season with Margarete Matzenauer as Delilah and Enrico Caruso as Samson. The conductor Mark Elder — striving, it seemed, for depth and gravity — drew dark, restrained playing from the orchestra. It was hard not to worry about Mr. Alagna when his voice gave out on the final high B-flat. “Samson and Delilah, Op. She brought elegant and pining emotion to Dalila’s great aria “Mon coeur s’ouvre à ta voix,” though I wanted a touch more wiliness in her singing. The libretto ends with Samson, summoning his lost strength through prayer, pushing apart the columns of the temple and destroying everyone within. Ms. Garanca was oddly passive in Act I. Given Mr. Gelb’s determination to make opera relevant, one might think that this, of all works — it’s set, after all, in Gaza — would scream for an updated concept. The "Samson" score is filled with formal structures, including chorus episodes written as fugues that nod to Bach. Samson’s American premiere as a theater piece took place in New Orleans in 1893, followed two years later by a production at the Metropolitan Opera in which Francesco Tamagno—creator of the title role in Verdi’s Otello—sang Samson. This timidly conceived staging, by the director Darko Tresnjak (“A Gentleman’s Guide to Love & Murder”) in his Met debut, somehow managed to be both gaudy and dull. Composer. Metropolitan Opera 2018-19 Review: Samson et Dalila. 3. That influenced Saint-Saens, an admirer of Handel, to compose an oratorio on the subject. The score is filled with formal structures, including chorus episodes (one written as a fugue) that nod to Bach. There were star singers in the title roles: the tenor Roberto Alagna and the mezzo-soprano Elina Garanca. Roberto Alagna and Elina Garanca who triumphantly opened the 2018-2019 Metropolitan Opera Season with Samson et Dalila, had sung in its modern version at at the Vienna Opera in the 2017-2018 season. It was first performed in Weimar at the Grand Ducal Theater, now the Staatskapelle Weimar, in 1877 in a German translation. Fathom Events and The Met: Live in HD present a broadcast of Saint-Saëns’s Samson et Dalila, live in select cinemas nationwide on Saturday, October 20. Love is a question of loyalty to one’s god, as Washington National Opera’s production, directed by Peter Kazaras, opulently unveils. She can be curiously cool, but not always: At the Met last year, she was a revelation as Octavian in Strauss’s “Der Rosenkavalier,” which brought out persuasive passion in her. Saint-Saens started the work in 1867 initially writing Act 2 with its most famous aria for Dalila and a duet for the main characters. The opera opens with a prelude depicting the hopeless despair of the oppressed Hebrews. Directed by Gary Halvorson. The most contemporary aspect of the staging involves Alexander Dodge’s sets, which use striking Islamic trellis designs for the walls of the temple and partitions. Starring tenor Roberto Alagna and mezzo-soprano Elīna Garanča in the title roles. Has she truly become vulnerable to his love? The readouts in a chamber setting with the composer at the piano didn’t lead to the positive reception of the opera in France, so Saint-Saens brought his work to Weimar Germany. This is an excellent modern production of Samson and Dalila, starring Placido Domingo, and recorded live in September 1998 exactly 30 years after his debut at the Metropolitan Opera. These major stories have emphasized a new era, so to speak, for the company, and the organization has even baptized that … The incident, somehow, was largely ignored. The Metropolitan Opera opened its season on Monday night with a premiere of this new production, which started out as merely picturesque, with singers playing their roles earnestly. The librettist, approached by Saint-Saens for this project suggested he write an opera instead. Eduard Lassen, the director who followed Liszt at Weimar, owed much of his success to his celebrated predecessor, and Liszt used his influence to arrange the premiere of Samson et Dalila with Lassen on the podium during the 1877/1878 season. From the Back Cover. French. The production returned to the Met in its 2018–19 season. The stream is available for 23 hours. I wish her Dalila had more of that quality. He earned strong reviews last season for his performance at the Met in the leading roles of the double bill “Cavalleria Rusticana” and “Pagliacci.”. Opera in three acts and four scenes. Enter your email address to subscribe to this blog and receive notifications of new posts by email. The mature Domingo is outstanding in the role of Samson and the cast also includes Olga Borodina as Dalila and Sergei Leiferkus as the High Priest of Dagon. Music by Saint-Saëns; text by Ferdinand Lemaire. 2020 Copyright Arts-NY.com LLC Theme by, Stream Saint-Saens’s biblical epic with Elina Garanca and Roberto Alagna in the title roles from the MetOpera stage on June 24, 2020, Virtual Summer Festival: New York Virtual Opera Fest, Music in Livestream: Inon Barnatan, Piano at Caramoor, 30 Lincoln Center Plaza, New York, NY 10023, Opera HD: Samson et Dalila at the Metropolitan Opera — arts-ny – NY Culture Scene. This makes his performance as impulsive lover and a fearless leader of the ancient tribe moving and persuasive. During the agitated love scene in Act II, the high point of the opera, Ms. Garanca was more sultry and determined. Camille Saint-Saëns’ Samson et Dalila is no traditional tragic romance. La première (en allemand et sur l'initiative de Liszt) a eu lieu au Théâtre de la Cour grand-ducale de Weimar, le 2 décembre 18771 sous la direction d'Eduard Lassen. Roberto Alagna and Elina Garanca star as the title characters in the Metropolitan Opera's new production of Saint-Saëns's "Samson et Dalila," which opened the season on Monday. At the time, choral arrangements received widespread popularity in France. Ferdinand Lemaire. Librettist. The Hebrews, grouped on both sides of a long staircase, face forward and sing directly to the audience. Samson et Dalila performance run time is 3 hours and 45 minutes in three acts with two intermissions. Complete your Saint-Saëns*, Risë Stevens - Mario Del Monaco, Metropolitan Opera Orchestra And Chorus*, Fausto Cleva collection. I eventually lost patience with his tendency to scoop up to high notes. There will be collaborations with the Brooklyn Academy of Music and the Public Theater; productions of overlooked operas; and a raft of new works, including, for the first time in company history, commissions from female composers. Mezzo-soprano Anita Rachvelishvili and tenor Gregory Kunde star as the Philistine seductress and … Linda Cho’s costumes have the captive Hebrews dressed in poignantly tattered, grayish clothes; the Philistines look like absurd characters from an old-Hollywood costume drama, all garish colors and gold trim. Produced: Weimar, December 2, 1877. Alagna’s interest in the subject of biblical heroes has roots in his childhood and in the culture he was brought up in. Roberto Alagna as Samson and Elīna Garanča as Dalila in Saint-Saëns’s Samson et Dalila at the Met, 2018. The explosive duo of tenor Roberto Alagna, Samson and soprano Elina Garanca, Dalila, and the rest of the powerful cast in this brave production make for an exciting opera night. Darko Tresnjak, a 2014 Tony Award Winner for best direction of a musical, debuts at the Met Opera with a monumental staging that brings us to ancient Gaza of 12th century BC from the Old Testament’s Book of Judges. Tenor Roberto Alagna was the heroic Samson, who ultimately falls victim to the seductive power of Dalila—the captivating mezzo-soprano Elīna Garanča. For good or for evil, till death do us part? But the work still has elements of oratorio style. Samson et Dalila has a wide and very distinguished discography and filmography including one from the Met Opera stage with Placido Domingo and Olga Borodina in the title roles. The temple set in this act is dominated by an enormous statue of the god Dagon, divided in half. And Saint-Saëns leaves elements of the character ill-defined. The French composer, Camille Saint-Saens, turned to the biblical hero of Hebrews Samson and his betrayer Dalila following Voltaire’s libretto Samson written for Rameau. Ken Howard / Met Opera … But it all felt distantly in the future on Monday, when the Met opened its season with an inert, old-fashioned new production of Saint-Saëns’s “Samson et Dalila.”. As this mezzo-soprano role is considered to be one of the greatest in the operatic repertoire, Garanca’s delicate approach adds distinct features to the story. But Mr. Alagna’s rough, patchy singing had you fearing for the current state of his voice. But this “Samson” didn’t feel distinguished. Elina Garanca (C) as Dalila in “Samson et Dalila,” with dazzling costumes by Linda Cho. Discover releases, reviews, track listings, recommendations, and more about Saint-Saëns*, Risë Stevens - Mario Del Monaco, Metropolitan Opera Orchestra And Chorus*, Fausto Cleva - Samson And Delilah (Abridged) at Discogs. “Samson et Dalila” is, admittedly, not an easy opera to crack. 2. This three-act grand opera was first performed in Weimar at the Grossherzogliches (Grand Ducal) Theater on December 2, 1877. Some observers attribute a longer than usual gestation period for finding public acceptance for a piece of such significance to the fact that Saint-Saens was an acclaimed symphonist and not a renown opera composer. By 1890 the opera was already quite popular outside of France, but it was staged at Paris Opera only in 1892. In Act III, during Samson’s scene of captivity — shorn of his hair, blinded and turning a mill wheel — the character’s spirit is utterly broken. He was persuaded by his librettist to make it an opera. What opening night was like from the Met’s high-pressure broadcast booth. But at his best his voice has youthful colors and athletic vigor, as well. Review: The Met’s New ‘Samson’ Succeeds Only as Kitsch, https://www.nytimes.com/2018/09/25/arts/music/review-met-opera-samson-dalila.html. Stay in the know about future events and offers by subscribing to ARTS-NY newsletter Subscribe, Venue: 30 Lincoln Center Plaza, New York, NY 10023. And these involving moments were fleeting. In this one moment of his otherwise literal-minded staging, Mr. Tresnjak went for symbolism: Samson merely ripped apart the chains on his hands as lights flared, thunder cracked and Philistines cowered. Photo by Ken Howard/Metropolitan Opera. When mezzo-soprano Elīna Garanča and tenor Roberto Alagna joined forces for a new production of Carmen at the Met, the results were electrifying. Laurent Naori as the High Priest of Dagon in Saint-Saëns’s Samson et Dalila at the Met, 2018. [ What opening night was like from the Met’s high-pressure broadcast booth ]. The prelude leads into a pleading chorus of the Hebrews, who are convinced that God has turned from them. Camille Saint-Saëns. The temple set in Act III, which includes the famous Bacchanale, is dominated by an enormous statue of the god Dagon, divided in half. In this opening act, Mr. Tresnjak maintains the stiff quality of an oratorio. It's Not Cirque du Soleil But the Met's New 'Samson et Dalila' Let's face it: Vulgarity is the lifeblood of Samson et Dalila. The libretto was duly translated into German for the production and the opera's first performance was given on 2 December 1877 at the Grossherzogliches … Elina Garanca’s interpretation of her heroine accents and draws out Dalila’s feelings for her lover and portraying affection and genuine interest in Samson. 47,” is a grand opera in three acts and four scenes. Dagon would appear to condone same-sex couplings. Ms. Garanca has been widely acclaimed for the fullness and radiance of her voice. 1. A mezzo must come up with answers. Sounds great, right? It is based on the story of Samson and Delilah in the Old Testament of the Bible. As Dalila, Ms. Garanca has to decide whether her character seduces Samson because she wants to entrap him in a political plot or because she is truly vulnerable to his love. Sad to say, there were times when Mr. Alagna’s singing sounded near broken, too. Austin McCormick’s choreography for the showpiece Bacchanale looked cheesy, with scantily clad, tattooed men (and, eventually, some women) gyrating before throngs of Philistines sipping wine in garish red clothes. The … The music was written by Camille Saint-Saëns. On Monday, there were times when he pulled you in with his reedy sound and charisma. Samson et Dalila performance run time is 3 hours and 45 minutes in three acts with two intermissions. Sung In. Mr. Alagna’s singing has always had a rough-hewed, impulsive quality, especially in recent years. With Mark Elder, Susan Graham, Roberto Alagna, Elchin Azizov. The people of Israel then break their chains and manage to flee - under the vicious threats of the High Priest of Dagon, who swears vengeance. When the valiant Samson appears, he too faces forward to deliver his exhortation to his people to bless the name of God and not lose faith. Saint-Saëns thought this biblical story of a fateful love affair, set against the backdrop of enslaved Israelites and their Philistine oppressors, would best be presented as a stirring concert oratorio. Tellingly, it opened the 2018-2019 season of MetOpera on a very high note. Samson et Dalila est un opéra français composé par Camille Saint-Saëns sur un livret de Ferdinand Lemaire. But whole phrases were leathery and insecure. Even an Orgy Scene Can’t Save the Met Opera’s Dull Take on ‘Samson et Dalila’ Roberto Alagna turns his back on the sinful razzle-dazzle of the Met’s Samson et Dalila. The 2018-19 Metropolitan Opera Radio Broadcast season continues with Samson et Dalila, Saint-Saëns’s dramatic opera based on the biblical tale of Samson and Delilah. CHARACTERS Photo by Ken Howard/Metropolitan Opera. It’s true that a singer has to be careful not to overplay Dalila as stock seductress. Samson and Delilah is a choral opera, what with Hebrews and Philistines, and the Met’s chorus came through: from the Baroque music that Saint-Saëns concocts at the beginning to the cries of religious frenzy that come later. Sensual music, an electrifying performance, and vivid stage design promise a memorable experience for every opera fan. In coming seasons, the Metropolitan Opera will be introducing a range of initiatives to make itself seem less elitist, more approachable and more connected to contemporary culture. Samson and Delilah-Synopsis (French title: Samson et Dalila) An Opera by Charles Camille Saint-Saëns. Later the Met revived the work in its 1915/1916 season with Margarete Matzenauer as Delilah and Enrico Caruso as Samson. An old Hebrew man (Dmitry Belosselskiy) warns Samson to beware of the burning flame in Dalila’s eyes, but you sensed little of that fire from Ms. Garanca. She directed phrases full of blazing sound and temperament at the tormented Samson. Placido Domingo and Shirley Verrett star in the title roles of this live recording from the San Francisco Opera of Saint-Saens' great three-act opera, which closely follow the biblical tale of the struggle between the Hebrews and the Philistines and the downfall of Samson in the hands of the temptress Dalila. A towering biblical epic, Saint-Saëns’s operatic take on the story of Samson and Delilah has many of the hallmarks of grand opera—show-stopping vocal displays, thrilling choruses, and an engrossing plot set against a sweeping, pseudo-historical backdrop. Although Liszt was no longer the musical director in Weimar, he still exerted a powerful influence at the Weimar court. Darko Tresnjak’s production of sensual French Grand Opera by Camille Saint-Saens on the biblical story of Samson et Davila can be streamed from anywhere on June 24, 2020 from 7.30 pm. Watch Saint-Saëns’s biblical epic based on the tale of Samson and Delilah from the Book of Judges. The great Met choristers made the most of the scene, and lifted the performance for a while. In Saint-Saëns’s “Samson et Dalila,” which returned to the Met on Wednesday for five performances after opening the season with a different cast … Samson was an opera by the French composer Jean-Philippe Rameau with a libretto by Voltaire.The work was never staged due to censorship, although Voltaire later printed his text. It was an all too clear demonstration of the grand-opera trappings that still shackle the art form, the constraints that the Met’s general manager, Peter Gelb, has long pledged to break from. His pitch often wavered. Stay in the know about future events and offers by subscribing to ARTS-NY newsletter Subscribe. In order to support this site, I am participating in the affiliate programs which contribute a small revenue from the sale of products on this site. By the beginning of 20th century, it was performed about 200 times and was becoming part of the standard repertoire of the opera houses around the world. Over the last few weeks, the Metropolitan Opera has hit one home run after another with news of a more accessible schedule structure as well as support for newer operas in new locations over coming seasons. The words and story of the opera (the libretto) were written by Ferdinand Lemaire. > Home > Encyclopera > Samson and Delilah - The Metropolitan Opera (2018-2019) Samson and Delilah - The Metropolitan Opera (2018-2019) - Samson et Dalila - The Metropolitan Opera (2018-2019) Information Description Print The Met has a new production of this opera, by Darko Tresnjak (making his house debut). When J’Nai Bridges made her triumphant debut in Camille Saint-Saëns’ Samson and Delilah Sunday night, it was the fulfillment of a dream. Samson et Dalila has a wide and very distinguished discography and filmography including one from the Met Opera stage with Placido Domingo and Olga Borodina in the title roles. Samson and Delilah (Fr: Samson et Dalila) is a three- act French opera. And though Ms. Garanca sounded sumptuous, she seldom conveyed Dalila’s heat and intensity. Alagna is particularly credited for delivering the best performance and bringing the role to the next level. The Metropolitan Opera’s 2018–2019 season launched September 24 with a new production of Saint-Saëns’ Samson et Dalila, directed by Tony Award winner Darko Tresnjak (Anastasia, A … But to his credit, against all odds with this staging, he tried mightily all night. Synopsis: Samson et Dalila Select a language to update the synopsis text. Is her determination to entrap Samson into betraying the Hebrews a political plot to deliver him to her own people? Lizts was very enthusiastic about the work and his influential support led to the opera premiere on the Weimar Theater stage in 1877. But the production weighed it down. The temple set in this opening act, Mr. Tresnjak maintains the stiff quality of an oratorio on Metropolitan. 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