So it is on Samson et Dalila that Saint-Saens's reputation as an operatic composer rests. Never a great musical innovator, he belonged to an influential group of French composers who flourished during the second half of the nineteenth century, among them Berlioz, Gounod, Bizet, Faure, Lalo and Massenet. This opera well demonstrates his ability to create an atmosphere; much of the music has a "perfumed" quality which lends a potent exoticism to Dalila's and the Philistines' music The Bacchanale from Act III also presents a most vivid sound picture, one of the most memorable ballet sequences in any opera.

A quality which Saint-Saens's music also portrays most strikingly is heroism. Samson's great outbursts, notably the broken pride of the third act prison scene, are among the finest music for dramatic tenor in any French opera of the period. With such a developed sense of theatre, Saint-Saens had no need to be a greater innovator.

The first commercial version of Samson et Dalila was made on 78s from 1946 and includes, a full French cast and conductor backed by the forces of the National Opera in Paris. That, surely, would have pleased even the irascible Saint-Saens.

Synopsis

Acts I and III are set in Gaza and Act II in the Valley of Sorek during Old Testament times.

Act I
After a brief orchestral introduction, the curtain rises on a group of Hebrews kneeling in prayer for deliverance from their Philistine conquerors (Dieu! Dieu d'IsraeI!). One among them, Samson, rises and calls for courage in their fight for freedom (Arretez, o mes freres!). Inspired by his leadership, the Hebrews determine to follow Samson, calling on Jehovah for guidance. (Ah! Le souffle du Seigneur).

Abimelech, Satrap (Governor) of Gaza, tries to silence Samson and asserts his belief that the great god Dagon can compare with no other (Qui donc eleve ici la voix?). Incensed, Samson rails against him and is attacked by Abimelech, who is himself mortally wounded. In the confusion Samson and the Hebrews escape, evading the worst of the Philistines' fury. The High Priest of Dagon swears to avenge the death and plans to use the beautiful Dalila to entrap the rebel leader Maudite a jamais soit la race…). The Hebrews sing a hymn of joy and look forward to deliverance from their oppressors (Hymne de joie, hymne de dilivrance…). Dalila enters and sings of her love for Samson, inviting him to follow her to the Valley of Sorek (Je viens cilebrer la victoire…). Warned by an old Hebrew, Samson calls for protection from her enticing charms. The Priestesses of Dagon dance in front of the temple and Dalila sings a seductive song, further testing Samson's self-control (Printemps qui commence…).

Act II
After an atmospheric prelude, Dalila is discovered in thoughtful mood, confident of her power over Samson (Amour! Viens aider ma faiblesse!). The High Priest arrives and reports the easy Hebrew victory over the Philistine forces. (J'ai gravi la montagne…) On being offered gold to capture Samson, Dalila refuses it, telling the High Priest that she acts purely out of hatred of the Hebrews and for the love of her gods (II faut, pour assouvir ma haine…). Together they determine to humble the proud Hebrew leader (En ces lieux, malgre moi…).

Samson arrives to bid farewell to Dalila, ( Ah! cesse d'affliger mon coeur!) but is drawn instead to acknowledge his love for her, as she declares hers for him (Mon coeur s'ouvre a ta voix..). Dalila's scheming continues as she pretends to doubt his love, while trying to discover the secret of his extraordinary strength. He refuses to tell her and she rushes off, followed reluctantly, yet all too eagerly, by Samson (Mais!… non! que dis-je, helas!). Philistine soldiers who have lain in wait for their opportunity to trap Samson follow them, as he realizes too late that he has been betrayed.

Act III
Samson is imprisoned, chained, blinded, with his hair - the source of his strength - shorn; he labours at turning a millstone. In the depths of despajr he offers his life as a sacrifice. His fellow Hebrew prisoners deplore their capture, all due to his infatutaion for Dalila Vois ma misere, helas!). In the Temple of Dagon the Philistines are preparing a sacrifice (L 'aube qui blanchit deja les coteaux ..). A rousing Bacchanale is danced, after which Samson is brought into the Temple to be mocked by the High Priest and Dalila. (Salut! Salut au juge d'Israel…) Samson now realises the full extent of her treachery as the Philistines jeer relentlessly at him (L'ame triste jusqu'a la mart…). While the Philistines praise the god Dagon, Samson is led to the centre of the Temple, where he can be seen by them all. He stands between two pillars supporting the great vault and, summoning up all his old strength, calls for inspiration from God. As the shouts of praise to Dagon ring out, Samson rocks the pillars until the whole Temple crashes down, destroying everyone under the immense weight. He is finally avenged (Gloire a Dagon vainqueur…).

Writer: Paul Campion