902:, the opera does not include the accounts of Samson's heroic deeds which earned him both fame and leadership among the Hebrews. The accounts of Samson's slaying of a lion and his triumph over 1000 Philistines while wielding only the jawbone of an ass are omitted. Saint-Saëns and his librettist most likely made this choice so the story would concentrate on Dalila. Samson, therefore, is presented as an inspiring leader rather than the almost supernatural hero of the Bible. It is his vulnerable, tender heart and his susceptibility to the protestations of love from a dissembling woman that is the focus of the plot. Delilah is portrayed as a manipulative, conniving, ruthless woman bent on revenge. Samson's numerous attempts to conceal the secret of his strength in the Biblical account are only referenced by Dalila in her duet with the High Priest in the opera, and the revelation that his strength resides in his hair occurs offstage. The opera includes some material not found in the Bible such as the death of Abimélech in act 1.
1188:", which becomes a duet on the second verse when Samson joins her in song. Now that Dalila has him in her power, she feigns disbelief in his constancy and demands that he show his love by confiding in her the secret of his strength. Samson hears rolling thunder again which now seems like a warning from God and refuses. Dalila weeps and scorns Samson and runs into her dwelling. Samson is momentarily torn but then follows Dalila inside. Not long afterward, having finally learned that the secret of Samson's strength is his long hair, she calls to hidden Philistine soldiers, who rush in to capture and blind Samson.
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1269:. Following the dance, Samson enters led by a boy. He is ridiculed by the High Priest and the crowd. Dalila taunts Samson further by recounting to him the details of her devious plot in a variant of her love song. When the priests try to force him to kneel before Dagon, he asks the boy to lead him to the two main pillars of the temple, then telling the child to flee. Samson prays to God to restore his strength, and pushes down the pillars and the temple with them, crushing himself and his enemies. The curtain falls.
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1154:. As she tries to charm him, a trio forms as an old Hebrew warns of the danger this woman presents and Samson prays for God's protection from Dalila's charms. In an attempt to seduce Samson away from his leadership of the Israelite uprising, Dalila and the priestesses begin a sexually charged dance for him accompanied by a
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became a consistent presence in the opera houses of Europe. By 1920, the Paris Opéra alone had given more than five hundred performances of the opera. In the decades after World War II, it was less often heard by
European audiences; but since the 1980s it has regained much of its former Continental
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with Lassen on the podium during the 1877/1878 season. 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 Theatre (Grand Ducal Theater). Viardot was too old to sing Delilah so the role was entrusted
315:(High Priest) rendered their roles from part books. In spite of many precedents, the French public reacted negatively to Saint-Saëns's intention of putting a Biblical subject on the stage. The alarm on the part of the public caused him to abandon working further on the opera for the next two years.
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A young relative of mine had married a charming young man who wrote verse on the side. I realized that he was gifted and had in fact real talent. I asked him to work with me on an oratorio on a biblical subject. 'An oratorio!', he said, 'no, let's make it an opera!', and he began to dig through the
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Now alone, Dalila contemplates her chances of success. Samson, intent on taking his place as the leader of the Hebrew revolt, emerges to say his last farewell as distant lightning is once again seen. In an attempt to close the trap which she has set for Samson, Dalila tells Samson seductively that
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Dalila knows that Samson is entranced with her and will come to her instead of leading the revolution against the
Philistines. Sitting on a rock outside the entrance to her retreat, she sings triumphantly about her power to ensnare Samson. She says that all of his strength is hopeless to withstand
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had received more than 200 performances internationally. The opera has continued to remain moderately popular since and, while not being among the most frequently performed operas, the work has become a part of the standard opera performance repertory at most major opera houses. The opera has been
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His hair shorn and now blind and shackled, Samson is turning a mill-wheel and praying for his people, who will suffer for his sin. He hears their voices, echoing the
Hebrews' lament from act 1. Overcome with remorse, Samson offers his life in sacrifice, while the Hebrews are heard in the distance
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set against the chorus's continuous prayer. Abimelech, the
Philistine governor, appears and taunts the Israelites, saying that they are helpless because their god has abandoned them. He further states that his god, Dagon, is far superior ("Ce Dieu que votre voix implore – This God that your voice
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portraying both Abimélech and the Old Hebrew. There is some evidence that the sets for the Met's production had been taken from some of their other operas, and at the second performance that season the work was given in concert, with the ballet sequences omitted; in this form the work traveled to
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Afraid of what might now happen, the
Hebrews flee, abandoning Samson. The High Priest of Dagon comes from the Philistine temple and curses the Hebrews and Samson's prodigious strength. A messenger arrives and informs the High Priest that the Hebrews are destroying the harvest. He responds with a
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Distant lightning is seen as the High Priest arrives to report that Samson and the
Hebrews have conquered the Philistines. He attempts to achieve Samson's capture by offering Dalila gold, but she refuses saying she cares not for money but only for revenge. Her desire to hurt Samson is motivated
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A musical interlude is played as the scene changes to the temple of Dagon, where the
Philistines are preparing a sacrifice to commemorate their victory. The priests and priestesses of Dagon sing softly, reprising the song to spring from act 1. The music turns savage as the priests dance a wild
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for Samson and Dalila, and some musical pieces for the chorus (some of which were later assigned to act 1) during 1867–1869. From the very beginning, the work was conceived as a grand duet between Samson and Dalila set off against the approaching tempest. Although the orchestration was not yet
1150:. Out of the temple emerges Dalila along with several priestesses of Dagon. As they walk down the temple steps, they sing of the pleasures of spring. Dalila engages seductively with Samson proclaiming that he has won her heart and bids him to come with her to her home in the valley of
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357:, even offering to produce the completed work at the grand-ducal opera house in Weimar. Encouraged, Saint-Saëns began composing act 1 in late 1872 and worked on it sporadically for the next few years. He wrote a large amount of act 1 and completed it during a trip to
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Bible while I outlined the plan of the work, even sketching scenes, and leaving him only the versification to do. For some reason I began the music with act 2, and I played it at home to a select audience who could make nothing of it at all.
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implores"). The
Hebrews cower in fear before Abimelech until Samson incites them into defiant action. Enraged, Abimelech attacks an unarmed Samson with his sword. Samson manages to wrest the sword from Abimelech and kills him.
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solely by her loyalty to her gods and her hatred for the
Hebrews. Dalila and the High Priest sing a duet expressing their mutual abhorrence for Samson and the Hebrews. Dalila vows to discover the secret of Samson's strength.
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further curse that alludes to his plot to utilize Dalila's beauty to outwit Samson's strength ("Qu'enfin une compagne infâme trahisse son amour! – Finally an infamous companion betrays his love!").
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revived numerous times not only in Europe and North America, but also in South America, Australia, and Asia. While none of Saint-Saëns's later operas suffered the tribulations endured by
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she is completely his if he wants her. She begs him to respond to her caresses, hoping that he will finally let go of all other things and concentrate completely on her. His admission
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objected to a Biblical work being mounted and the company was forced to present the opera in a concert version. It was not staged in London until 1909 when the ban was finally lifted.
353:, the former musical director of the Weimar court orchestra and opera. Liszt was highly interested in producing new works by talented composers and persuaded Saint-Saëns to finish
426:, a resident performer at the Weimar opera house. Although a resounding success with the Weimar critics and audience, the opera was not immediately revived in other opera houses.
258:, the husband of one of his wife's cousins, about writing a libretto for the oratorio but Lemaire convinced the composer that the story was better suited to an opera.
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is largely credited for popularizing the work in the United States and Canada during the early twentieth century. Réache first performed the role of Delilah with the
376:, with the composer at the piano. Viardot was a great admirer of the work and she hoped that this private performance would encourage Halanzier, the director of the
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in a similar format as the 1870 performance of act 2. The work was harshly received by music critics and failed to gain the public's interest. That year acclaimed
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as Dalila and Talazac singing Samson once again, this time with a much warmer reception by Paris audiences. Over the next two years, performances were given in
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who was in attendance, to mount a full production. Although Saint-Saëns completed the score in 1876, no opera houses in France displayed any desire to stage
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as the High Priest. Since then the company has staged productions of the opera at least once every decade giving more than 200 performances of the work.
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204:" ("My heart opens itself to your voice", also known as "Softly awakes my heart"), the latter of which is one of the most popular recital pieces in the
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182:. It is the only opera by Saint-Saëns that is regularly performed. The second act love scene in Delilah's tent is one of the set pieces that define
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as Samson. The company has revived the work numerous times since then, most recently in their 2003/2004 season with Olga Borodina as Dalila and
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as Samson. Likewise, the San Francisco Opera has staged the opera 10 times during its history giving its first performance in 1925, with
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as Samson. Directed by Lapissida, the staging had costumes by Charles Bianchini and sets by Amable and Eugène Gardy (acts 1 and 2), and
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replaced Fontaine in the protagonist's role, earning the composer's praise for both the quality of his voice and his interpretation.
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on 17 January 1895 with Renée Vidal as Dalila and Emanuele Lafarge as Samson. This was followed by its first performance at the
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in 1882, afterwards the opera was not seen again until it was performed for the first time in France at the Théâtre des Arts in
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finally began to attract the attention of the world's great opera houses during the 1890s. Although the next new production of
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in New York City in 1908 and went on to sing the role several more times over the next seven years, including performances in
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has served as a star vehicle for many singers. The role of Delilah is considered to be one of the great opera roles for the
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A Concise Biographical Dictionary of Singers: from the beginning of recorded sound to the present; Jeanne Gerville-Réache
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Although Liszt was no longer the musical director in Weimar, he still exerted a powerful influence at the Weimar court.
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finally staged the opera on 23 November 1892 in a performance under the supervision of Saint-Saëns conducted by
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but the singer was too old to assay the role for the 2 December 1877 Weimar premiere and the role was entrusted to
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After Lemaire finished the libretto, Saint-Saëns began actively composing act 2 of the opera, producing an
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also earned a great deal of popularity outside France during the 1890s. The opera debuted successfully in
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on 8 March 1893 with Elisa Persini as Dalila and Augusto Brogi as Samson. The work was first given at
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with Saint-Saëns playing the orchestral parts, which were largely improvised, on the piano. Composer
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1399:(The first studio made recording and the first recording of the opera to be released commercially.)
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in the principal roles, and its most recent performance in 2008, with Borodina and Clifton Forbis.
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complete, act 2 was presented in a private performance in 1870 just prior to the outbreak of the
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during its early years, none of his other works have achieved the same enduring success either.
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1494:(Live recording for radio on 26 November 1949 which has subsequently been released on CD.)
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1332:(Live recording for radio on 26 December 1936 which has subsequently been released on CD.)
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in 1874. Upon returning to France in 1875, Saint-Saëns presented act 1 in Paris at the
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384:. Liszt's sustained support however led to the work being mounted in Weimar in 1877.
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In the summer of 1872, not too long after the premiere of Saint-Saëns's second opera
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love's onslaught ("Amour! viens aider ma faiblesse – Love! come help my weakness").
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As dawn breaks the Hebrews lift up a humble prayer to God in a style reminiscent of
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and was instrumental in arranging the first production in Weimar. (Photograph, 1870)
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735:. More recent productions of the opera by the Metropolitan have been in 2006, with
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on 15 March 1892. This was followed by the opera's United States premiere at
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547:. The first staged performance of the opera in the U.S. was held at the
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Note: "Cat:" is short for the label's catalogue number where available.
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In England, the opera was first performed on 25 September 1893 at the
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2326:(Trans. from German, Harry Early Jone. Plus expanded and annotated),
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506:(act 3). The performance was lauded by critics and spectators alike.
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834:"Vois ma misère, hélas!" ("Behold my misery, alas!", act 3, scene 1)
2373:. Garden City, New York: Doubleday & Co. Inc. pp. 545–550.
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popularity. Recent European productions include performances at
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gave their first performance of the opera in November 1962 with
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The opera made its premiere in Italy at the Teatro Pagliano (
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Samson destroys the Temple of Dagon (Gustave Doré, ca. 1860)
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After the numerous setbacks it suffered in its early years,
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In the middle of the 19th century, a revival of interest in
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in New York City during its 1915/1916 season and recorded "
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Mon cœur s'ouvre à ta voix – My heart opens to your voice
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on 4 January 1893. The first of many productions at the
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as Samson. The opera received its Paris premiere at the
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portrayed Samson in the 1909 production. Subsequently,
1126:("Dieu d'Israël – God of Israel"), which leads into a
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French Opera at the Fin de Siècle: Samson and Delilah
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and at the Metropolitan Opera's 1998 production with
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653:and Edna Thornton in the 1919 London production of
559:in New York City was held on 2 February 1895, with
163:) on 2 December 1877 in a German translation.
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450:on 3 March 1890 with Carlotta Bossi as Dalila and
430:Beginning of international popularity in the 1890s
27:Opera by Camille Saint-Saëns and Ferdinand Lemaire
2434:Visual documentation of the Parisian premiere on
2387:. New York: G.P. Putnam's Sons. pp. 819–821.
1661:Orchestre du Théâtre National de l'Opéra de Paris
224:swept France, and Saint-Saëns, an admirer of the
2403:. New York: Blue Ribbon Books. pp. 318–320.
2139:"Samson et Dalila at www.concertoperaboston.org"
703:revived the opera in its 1915/1916 season with
607:as Samson. The work was first performed at the
405:) was the site of the premiere of the complete
3309:Gideon and Samson: Great Leaders of the Bible
3116:
2456:
793:, Milan, in 2002 (Domingo and Borodina); the
603:and Irma De Spagni alternating as Dalila and
539:in a concert version on 24 March 1892 by the
325:(1811–1886) was an enthusiastic supporter of
8:
2330:. Philadelphia, Chilton Book Company, 1969.
1902:Bavarian Radio Symphony orchestra and chorus
1459:Orchester und Chor des Bayerischen Rundfunks
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197:
191:
154:
583:) on 26 March 1892. The opera was given in
401:The Grand Ducal Theater in Weimar (now the
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3109:
3101:
2658:
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576:, where it was performed on 3 March 1895.
49:
29:
2430:International Music Score Library Project
2278:"San Francisco Opera Performance Archive"
2154:
2152:
2150:
2148:
743:alternating as Delilah, and in 2018 with
642:20th and 21st century performance history
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2131:
2129:
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2106:
2104:
2102:
2100:
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1624:Royal Swedish Opera Orchestra and Chorus
1589:Teatro di San Carlo Orchestra and Chorus
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1167:Delilah's retreat in the Valley of Sorek
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2094:
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1524:Metropolitan Opera Orchestra and Chorus
1492:Metropolitan Opera Orchestra and Chorus
1367:Metropolitan Opera Orchestra and Chorus
1329:Metropolitan Opera Orchestra and Chorus
3056:The Assassination of the Duke of Guise
1235:
868:
611:that same year and was mounted at the
2927:Caprice sur des airs danois et russes
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1118:for relief from their bondage to the
696:(for the Canadian premiere in 1915).
343:to see the first revival of Wagner's
7:
3198:Samson Threatening His Father-In-Law
1689:Netherlands Radio Symphony Orchestra
851:premiered the role of Samson at the
2420:, operadis-opera-discography.org.uk
2371:Complete Series of the Great Operas
2249:, performance details, Met archives
2234:, performance details, Met archives
2212:, performance details, Met archives
2166:. L'Almanacco di Gherardo Casaglia
2038:San Diego Symphony Orchestra &
676:In North America, French contralto
274:The role of Dalila was written for
2735:Introduction and Rondo Capriccioso
1106:In a square outside the temple of
25:
137:in three acts and four scenes by
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3476:
3086:
3085:
2260:"Performance & Cast Archive"
1397:Paris Opéra Orchestra and Chorus
1236:Problems playing this file? See
1215:
898:is taken from Chapter 16 of the
869:Problems playing this file? See
838:
719:performed as Samson in the 1981
1260:Scene 2: In the Temple of Dagon
159:(Grand Ducal) Theater (now the
1721:Orquestra do Teatro alla Scala
936:Premiere cast, 2 December 1877
190:are particularly well known: "
1:
3628:Cultural depictions of Samson
3623:Operas by Camille Saint-Saëns
1251:Scene 1: In a dungeon at Gaza
254:. Saint-Saëns had approached
1796:Orchestre et Choeur de Paris
1227:United States Air Force Band
541:Oratorio Society of New York
149:. It was first performed in
3214:The Wedding Feast of Samson
3158:Samson Slaying a Philistine
2910:The Carnival of the Animals
174:found in Chapter 16 of the
3644:
2520:Mon cœur s'ouvre à ta voix
2305:. Oxford Univ. Press, US.
2179:Kutsch and Riemens, p. 487
2158:Casaglia, Gherardo (2005).
1759:Münchner Rundfunkorchester
1294:opera house and orchestra
1184:introduces her main aria "
797:, Covent Garden, in 2004 (
613:Teatro Comunale di Bologna
200:Mon cœur s'ouvre à ta voix
166:The opera is based on the
3618:Operas based on the Bible
3474:
3082:
2846:Suite for Cello and Piano
2478:
2003:London Symphony Orchestra
1311:Gertrud Pålson-Wettergren
1102:A square in Gaza at night
1071:
894:Although the libretto of
857:
805:) and again in 2022; the
261:Saint-Saëns later wrote:
196:" ("Spring begins") and "
100:2 December 1877
48:
37:
2834:Piano Quartet in E major
2401:The Standard Opera Guide
2299:Huebner, Steven (2006).
1529:CD: Omega Opera Archive
1497:CD: Omega Opera Archive
1372:CD: Omega Opera Archive
878:Throughout its history,
458:on 31 October 1890 with
2384:The Complete Opera Book
1799:CD: Deutsche Grammophon
1427:Grand Théâtre de Genève
1073:Hebrews and Philistines
723:production co-starring
682:Manhattan Opera Company
599:on 6 January 1897 with
581:Teatro Verdi (Florence)
514:Samson at the Treadmill
496:Blanche Deschamps-Jéhin
339:, the composer went to
55:Samson and Delilah, by
3608:French-language operas
3206:The Blinding of Samson
3161:(Giambologna, c. 1562)
2701:Piano Concerto No. 5 (
2044:CD: Premiere Opera Ltd
2040:San Diego Opera Chorus
1553:NBC Symphony Orchestra
1287:Grand-prêtre de Dagon,
1204:
922:
858:Vois ma misère, hélas!
827:
753:Lyric Opera of Chicago
678:Jeanne Gerville-Réache
661:
597:Teatro Regio di Torino
521:
452:Jean-Alexandre Talazac
442:was in Germany at the
410:
330:
287:
268:
198:
193:Printemps qui commence
192:
155:
130:
3440:" (The Dresden Dolls)
2754:Violin Concerto No. 3
2728:Violin Concerto No. 1
2722:Violin Concerto No. 2
2625:Symphony in F major (
2348:". In L. Macy (ed.).
1995:Jean-Philippe Lafont,
1925:Jean-Philippe Courtis
1202:
1050:Philistine Messenger
913:
826:
649:
630:portrayed Dalila and
609:Teatro Regio di Parma
512:
400:
321:
273:
263:
3463:Samson & Goliath
3419:" (traditional song)
3169:(Rubens, c. 1609–10)
2768:Cello Concerto No. 2
2748:Cello Concerto No. 1
2687:Piano Concerto No. 4
2681:Piano Concerto No. 3
2675:Piano Concerto No. 2
2669:Piano Concerto No. 1
2481:List of compositions
2393:Upton, George Putnam
2123:Huebner, pp. 206–212
1980:Cat: 00440 073 0599
1972:orchestra and chorus
1936:orchestra and chorus
1875:Cat: 032031 00109 1
1870:orchestra and chorus
1839:Cat: 032031 00109 1
1834:orchestra and chorus
1578:Antonio Manca-Serra,
1429:Orchestra and Chorus
1256:lamenting his fate.
776:Marguerite d'Alvarez
533:Opéra de Monte-Carlo
403:Staatskapelle Weimar
161:Staatskapelle Weimar
3548:Samson coat of arms
3523:Rabbinic literature
2940:Violin Sonata No. 2
2903:Violin Sonata No. 1
2472:Camille Saint-Saëns
2282:archive.sfopera.com
1977:Deutsche Grammophon
1832:San Francisco Opera
1557:Robert Shaw Chorale
807:Royal Swedish Opera
721:San Francisco Opera
705:Margaret Matzenauer
444:Hamburg State Opera
409:on 2 December 1877.
388:Performance history
363:Théâtre du Châtelet
349:under the baton of
301:Franco-Prussian War
216:Composition history
186:. Two of Delilah's
139:Camille Saint-Saëns
43:Camille Saint-Saëns
3447:" (Regina Spektor)
3417:Samson and Delilah
3409:Samson and Delilah
3333:Samson and Delilah
3317:Samson and Delilah
3285:Samson and Delilah
3277:Samson and Delilah
3190:Samson and Delilah
3182:Samson and Delilah
3174:Samson and Delilah
3166:Samson and Delilah
2952:Cello Sonata No. 2
2885:Piano Quartet in B
2879:Cello Sonata No. 1
2800:Le Rouet d'Omphale
2776:Cyprès et lauriers
2512:Samson and Delilah
2504:La princesse jaune
2496:Le timbre d'argent
2425:Samson and Delilah
2417:Samson and Delilah
2351:Grove Music Online
2320:Kutsch, Karl-Josef
2264:www.lyricopera.org
2247:, 25 February 2006
2232:, 25 February 2006
2225:, 10 February 2006
1970:Metropolitan Opera
1443:Lorenz Fehenberger
1432:CD: Malibran Music
1211:"Danse Bacchanale"
1205:
1039:Second Philistine
979:Auguste von Müller
923:
919:Samson and Delilah
853:Metropolitan Opera
828:
701:Metropolitan Opera
662:
659:Sir Thomas Beecham
655:Samson and Delilah
628:Louise Kirkby Lunn
557:Metropolitan Opera
549:French Opera House
522:
424:Auguste von Müller
411:
393:Premiere in Weimar
355:Samson and Delilah
336:La princesse jaune
331:
307:(Dalila), painter
288:
284:Auguste von Müller
251:Le timbre d'argent
172:Samson and Delilah
126:Samson and Delilah
90:Samson and Delilah
3568:
3567:
3559:The Modern Samson
3472:
3471:
3217:(Rembrandt, 1638)
3209:(Rembrandt, 1636)
3201:(Rembrandt, 1635)
3193:(Rembrandt, 1630)
3098:
3097:
3018:The Promised Land
2842: (1855/1857)
2787:
2786:
2312:978-0-19-518954-4
2210:28 September 1998
2050:
2049:
2046:Cat: CDNO 2793-2
1961:Richard Paul Fink
1893:Jonathan Summers,
1873:DVD: Kultur Video
1868:Royal Opera House
1854:Jonathan Summers,
1837:DVD: Kultur Video
1822:Arnold Voketaitis
1664:CD: EMI classics
1421:Ernest Mestrallet
1404:Cat: 8.110063-64
1363:Wilfrid Pelletier
1324:Maurice Abravanel
1225:Performed by the
1220:
1078:
1077:
843:
795:Royal Opera House
737:Marina Domashenko
620:Royal Opera House
565:Francesco Tamagno
256:Ferdinand Lemaire
156:Grossherzogliches
147:Ferdinand Lemaire
122:
121:
72:Ferdinand Lemaire
18:Samson et Delilah
16:(Redirected from
3635:
3585:
3584:
3576:
3480:
3374:Samson Agonistes
3225:(Steen, c. 1670)
3185:(van Dyck, 1630)
3177:(van Dyck, 1620)
3147:
3125:
3118:
3111:
3102:
3089:
3088:
2994:Oratorio de Noël
2934:Piano Trio No. 2
2890:
2889:
2863:
2862:
2852:Piano Trio No. 1
2816:Suite algérienne
2774:Organ Concerto (
2659:
2641:Symphony No. 3 (
2465:
2458:
2451:
2442:
2428:: Scores at the
2404:
2388:
2374:
2355:
2346:Samson et Dalila
2316:
2286:
2285:
2274:
2268:
2267:
2256:
2250:
2245:Samson et Dalila
2241:
2235:
2230:Samson et Dalila
2223:Samson et Dalila
2219:
2213:
2208:Samson et Dalila
2204:
2198:
2190:Samson et Dalila
2186:
2180:
2177:
2171:
2169:
2162:Samson et Dalila
2156:
2143:
2142:
2135:
2124:
2121:
2115:
2110:
2000:Sir Colin Davis,
1957:Sergei Leiferkus
1949:Plácido Domingo,
1939:CD: EMI Classics
1929:Myung-whun Chung
1913:Plácido Domingo,
1900:Sir Colin Davis,
1817:Wolfgang Brendel
1809:Plácido Domingo,
1792:Daniel Barenboim
1779:Elena Obraztsova
1725:CD: Opera D'oro
1700:Richard Cassily,
1692:CD: Opera D'oro
1675:Oralia Domínguez
1619:Herbert Sandberg
1393:Louis Fourestier
1277:
1246:The city of Gaza
1222:
1221:
1122:in a melancholy
1092:Time: c. 1150 BC
925:
896:Samson et Dalila
880:Samson et Dalila
860:
859:
845:
844:
825:
786:Samson et Dalila
769:
671:Samson et Dalila
666:Samson et Dalila
632:Charles Fontaine
624:Lord Chamberlain
561:Eugenia Mantelli
525:Samson et Dalila
440:Samson et Dalila
436:Samson et Dalila
419:Samson et Dalila
407:Samson et Dalila
382:Samson et Dalila
327:Samson et Dalila
203:
195:
158:
133:), Op. 47, is a
131:Samson et Dalila
107:
105:
62:
53:
33:Samson et Dalila
30:
21:
3643:
3642:
3638:
3637:
3636:
3634:
3633:
3632:
3593:
3592:
3591:
3579:
3571:
3569:
3564:
3518:Samson's riddle
3481:
3468:
3450:
3424:Sam and Delilah
3388:
3347:
3256:
3228:
3141:
3134:
3129:
3099:
3094:
3078:
3062:
3043:
3024:
2981:
2970:Clarinet Sonata
2887:
2886:
2860:
2859:
2822:
2792:Orchestra works
2783:
2710:
2650:
2607:
2483:
2474:
2469:
2411:
2397:Borowski, Felix
2391:
2377:
2365:
2362:
2360:Further reading
2342:Macdonald, Hugh
2340:
2313:
2298:
2290:
2289:
2276:
2275:
2271:
2258:
2257:
2253:
2242:
2238:
2220:
2216:
2205:
2201:
2187:
2183:
2178:
2174:
2167:
2157:
2146:
2137:
2136:
2127:
2122:
2118:
2111:
2076:
2066:
2045:
2037:
2030:
2025:
2020:
2019:Clifton Forbis,
2010:Elektra Records
2001:
1996:
1994:
1992:
1979:
1968:
1960:
1955:
1950:
1940:
1932:
1924:
1919:
1914:
1901:
1894:
1892:
1887:
1874:
1866:
1855:
1853:
1850:Shirley Verrett
1848:
1838:
1830:
1820:
1815:
1812:Shirley Verrett
1810:
1801:Cat: 413 297-2
1800:
1795:
1787:
1782:
1777:
1774:Plácido Domingo
1764:
1757:
1754:Giuseppe Patanè
1749:Alexander Malta
1747:
1742:
1737:
1719:
1712:Giovanni Foiani
1711:
1706:
1703:Shirley Verrett
1701:
1688:
1680:
1678:
1673:
1660:
1652:
1647:
1642:
1630:Cat: CAP 22054
1629:
1622:
1614:Sigurd Björling
1612:
1607:
1594:
1593:CD: Bongiovanni
1587:
1580:Giovanni Amodeo
1579:
1577:
1572:
1562:
1551:
1543:
1541:
1525:
1523:
1513:
1510:Sigurd Björling
1508:
1506:
1493:
1491:
1483:
1478:
1476:
1464:Cat: WLCD 0040
1463:
1458:
1453:
1451:
1446:
1433:
1425:
1420:
1415:
1414:Susanne Lefort,
1413:
1403:
1398:
1396:
1388:
1386:
1381:
1368:
1366:
1356:
1351:
1346:
1336:
1331:
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1314:
1309:
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1284:
1275:
1243:
1242:
1234:
1232:
1231:
1230:
1229:
1223:
1216:
1213:
1206:
1194:
1164:
1099:
1083:
985:High Priest of
937:
917:(1862–1934) in
908:
892:
876:
875:
867:
865:
864:
863:
862:
846:
839:
836:
829:
823:
780:Fernand Ansseau
763:
759:as Delilah and
725:Shirley Verrett
717:Plácido Domingo
711:as Samson, and
644:
605:Hector Dupeyron
567:as Samson, and
545:Walter Damrosch
543:, conducted by
504:Eugène Carpezat
492:Édouard Colonne
432:
395:
390:
370:Pauline Viardot
276:Pauline Viardot
218:
118:
117:
108:
103:
101:
63:
60:
28:
23:
22:
15:
12:
11:
5:
3641:
3639:
3631:
3630:
3625:
3620:
3615:
3610:
3605:
3595:
3594:
3590:
3589:
3566:
3565:
3563:
3562:
3555:
3550:
3545:
3540:
3530:
3525:
3520:
3515:
3510:
3505:
3500:
3495:
3489:
3487:
3483:
3482:
3475:
3473:
3470:
3469:
3467:
3466:
3458:
3456:
3452:
3451:
3449:
3448:
3441:
3434:
3433:" (Emly Starr)
3427:
3420:
3413:
3405:
3396:
3394:
3390:
3389:
3387:
3386:
3378:
3370:
3360:Book of Judges
3355:
3353:
3349:
3348:
3346:
3345:
3337:
3329:
3321:
3313:
3305:
3297:
3289:
3281:
3273:
3264:
3262:
3258:
3257:
3255:
3254:
3249:
3242:
3236:
3234:
3230:
3229:
3227:
3226:
3218:
3210:
3202:
3194:
3186:
3178:
3170:
3162:
3153:
3151:
3144:
3136:
3135:
3130:
3128:
3127:
3120:
3113:
3105:
3096:
3095:
3083:
3080:
3079:
3077:
3076:
3074:Camille Awards
3070:
3068:
3064:
3063:
3061:
3060:
3051:
3049:
3045:
3044:
3042:
3041:
3032:
3030:
3026:
3025:
3023:
3022:
3014:
3006:
2998:
2989:
2987:
2983:
2982:
2980:
2979:
2976:Bassoon Sonata
2973:
2967:
2961:
2955:
2949:
2943:
2937:
2931:
2923:
2922:
2921:
2906:
2900:
2894:
2882:
2876:
2867:
2855:
2849:
2843:
2837:
2830:
2828:
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2804:
2795:
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2788:
2785:
2784:
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2781:
2771:
2765:
2757:
2751:
2745:
2739:
2731:
2725:
2718:
2716:
2712:
2711:
2709:
2708:
2698:
2690:
2684:
2678:
2672:
2665:
2663:
2656:
2652:
2651:
2649:
2648:
2643:Organ Symphony
2638:
2635:Symphony No. 2
2632:
2622:
2619:Symphony No. 1
2615:
2613:
2609:
2608:
2606:
2605:
2597:
2589:
2581:
2573:
2565:
2557:
2549:
2541:
2533:
2529:Étienne Marcel
2525:
2524:
2523:
2508:
2500:
2491:
2489:
2485:
2484:
2479:
2476:
2475:
2470:
2468:
2467:
2460:
2453:
2445:
2439:
2438:
2432:
2421:
2415:Recordings of
2410:
2409:External links
2407:
2406:
2405:
2389:
2375:
2361:
2358:
2357:
2356:
2338:
2317:
2311:
2288:
2287:
2269:
2251:
2236:
2214:
2199:
2181:
2172:
2144:
2125:
2116:
2073:
2072:
2065:
2062:
2061:
2060:
2059:
2058:
2048:
2047:
2042:
2036:Karen Keltner,
2034:
2032:Philip Skinner
2027:Greer Grimsley
2017:
2013:
2012:
2006:
1998:
1993:Olga Borodina,
1986:
1982:
1981:
1973:
1962:
1947:
1943:
1942:
1937:
1934:Bastille Opera
1926:
1916:Waltraud Meier
1911:
1907:
1906:
1903:
1898:
1881:
1877:
1876:
1871:
1859:
1857:John Tomlinson
1845:
1841:
1840:
1835:
1824:
1807:
1803:
1802:
1797:
1789:
1771:
1767:
1766:
1765:Cat: 779-2-RG
1761:
1751:
1739:Christa Ludwig
1731:
1727:
1726:
1723:
1716:Georges Prêtre
1713:
1708:Robert Massard
1698:
1694:
1693:
1690:
1682:
1670:
1666:
1665:
1662:
1657:Georges Prêtre
1654:
1636:
1632:
1631:
1626:
1616:
1609:Blanche Thebom
1601:
1597:
1596:
1591:
1581:
1569:
1565:
1564:
1561:CD: RCA Victor
1559:
1545:
1544:Robert Merrill
1535:
1531:
1530:
1527:
1517:
1503:
1499:
1498:
1495:
1485:
1480:Robert Merrill
1470:
1466:
1465:
1460:
1455:
1440:
1436:
1435:
1430:
1422:
1417:Pierre Nougaro
1412:José Luccioni,
1410:
1406:
1405:
1400:
1390:
1389:Charles Cambon
1383:Hélène Bouvier
1380:José Luccioni,
1378:
1374:
1373:
1370:
1360:
1353:Leonard Warren
1343:
1339:
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1045:Felix Schmidt
1043:
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1022:
1021:
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1013:
1000:
999:
997:Hans von Milde
994:
989:
982:
981:
976:
967:
961:
960:
958:Franz Ferenczy
955:
950:
944:
943:
934:
929:
907:
904:
900:Book of Judges
891:
888:
866:
847:
837:
832:
831:
830:
821:
820:
819:
749:Roberto Alagna
713:Pasquale Amato
643:
640:
587:at the Teatro
500:Edmond Vergnet
498:as Dalila and
431:
428:
394:
391:
389:
386:
313:Romain Bussine
311:(Samson), and
309:Henri Regnault
305:Augusta Holmès
294:for Dalila, a
217:
214:
176:Book of Judges
120:
119:
109:
99:
97:
93:
92:
87:
83:
82:
79:
75:
74:
69:
65:
64:
54:
46:
45:
35:
34:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3640:
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3561:
3560:
3556:
3554:
3551:
3549:
3546:
3544:
3541:
3538:
3534:
3533:Samson Option
3531:
3529:
3526:
3524:
3521:
3519:
3516:
3514:
3511:
3509:
3508:Manoah's wife
3506:
3504:
3501:
3499:
3496:
3494:
3491:
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3465:
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3432:
3428:
3425:
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3414:
3412:(Saint-Saëns)
3411:
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3398:
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3354:
3350:
3343:
3342:
3338:
3335:
3334:
3330:
3327:
3326:
3325:Aaj Ka Samson
3322:
3319:
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3314:
3311:
3310:
3306:
3303:
3302:
3298:
3295:
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3290:
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3274:
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3263:
3259:
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3248:
3247:
3246:Mighty Samson
3243:
3241:
3238:
3237:
3235:
3231:
3224:
3223:
3222:Samson Mocked
3219:
3216:
3215:
3211:
3208:
3207:
3203:
3200:
3199:
3195:
3192:
3191:
3187:
3184:
3183:
3179:
3176:
3175:
3171:
3168:
3167:
3163:
3160:
3159:
3155:
3154:
3152:
3148:
3145:
3143:
3137:
3133:
3126:
3121:
3119:
3114:
3112:
3107:
3106:
3103:
3093:
3092:
3081:
3075:
3072:
3071:
3069:
3065:
3058:
3057:
3053:
3052:
3050:
3046:
3039:
3038:
3034:
3033:
3031:
3027:
3020:
3019:
3015:
3012:
3011:
3007:
3004:
3003:
2999:
2996:
2995:
2991:
2990:
2988:
2984:
2977:
2974:
2971:
2968:
2965:
2962:
2959:
2956:
2953:
2950:
2947:
2944:
2941:
2938:
2935:
2932:
2929:
2928:
2924:
2920:
2919:
2915:
2914:
2913: (1886)
2912:
2911:
2907:
2904:
2901:
2898:
2895:
2892:
2883:
2880:
2877:
2874:
2872:
2868:
2865:
2858:Serenade in E
2856:
2853:
2850:
2847:
2844:
2841:
2840:Piano Quintet
2838:
2835:
2832:
2831:
2829:
2827:Chamber music
2825:
2818:
2817:
2813:
2810:
2809:
2808:Danse macabre
2805:
2802:
2801:
2797:
2796:
2794:
2790:
2779:
2777:
2772:
2769:
2766:
2763:
2762:
2758:
2755:
2752:
2749:
2746:
2743:
2740:
2737:
2736:
2732:
2729:
2726:
2723:
2720:
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2717:
2713:
2706:
2704:
2699:
2696:
2695:
2691:
2688:
2685:
2682:
2679:
2676:
2673:
2670:
2667:
2666:
2664:
2660:
2657:
2653:
2646:
2644:
2639:
2636:
2633:
2630:
2628:
2623:
2620:
2617:
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2598:
2595:
2594:
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2582:
2579:
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2574:
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2566:
2563:
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2558:
2555:
2554:
2550:
2547:
2546:
2542:
2539:
2538:
2534:
2531:
2530:
2526:
2521:
2517:
2516:
2515: (1877)
2514:
2513:
2509:
2506:
2505:
2501:
2498:
2497:
2493:
2492:
2490:
2486:
2482:
2477:
2473:
2466:
2461:
2459:
2454:
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2447:
2446:
2443:
2437:
2433:
2431:
2427:
2426:
2422:
2419:
2418:
2413:
2412:
2408:
2402:
2398:
2394:
2390:
2386:
2385:
2380:
2379:Kobbé, Gustav
2376:
2372:
2368:
2367:Cross, Milton
2364:
2363:
2359:
2353:
2352:
2347:
2343:
2339:
2337:
2336:0-8019-5516-5
2333:
2329:
2325:
2321:
2318:
2314:
2308:
2304:
2303:
2297:
2296:
2295:
2294:
2293:Cited sources
2283:
2279:
2273:
2270:
2265:
2261:
2255:
2252:
2248:
2246:
2240:
2237:
2233:
2231:
2226:
2224:
2218:
2215:
2211:
2209:
2203:
2200:
2197:
2193:
2191:
2185:
2182:
2176:
2173:
2165:
2163:
2155:
2153:
2151:
2149:
2145:
2140:
2134:
2132:
2130:
2126:
2120:
2117:
2114:
2109:
2107:
2105:
2103:
2101:
2099:
2097:
2095:
2093:
2091:
2089:
2087:
2085:
2083:
2081:
2079:
2075:
2071:
2070:
2063:
2057:
2054:
2053:
2052:
2051:
2043:
2041:
2035:
2033:
2028:
2023:
2022:Denyce Graves
2018:
2015:
2014:
2011:
2007:
2004:
1999:
1990:
1987:
1984:
1983:
1978:
1974:
1971:
1966:
1963:
1958:
1953:
1952:Olga Borodina
1948:
1945:
1944:
1941:Cat: 54470-2
1938:
1935:
1930:
1927:
1922:
1921:Alain Fondary
1917:
1912:
1909:
1908:
1904:
1899:
1897:
1890:
1885:
1884:José Carreras
1882:
1879:
1878:
1872:
1869:
1864:
1860:
1858:
1851:
1846:
1843:
1842:
1836:
1833:
1828:
1825:
1823:
1818:
1813:
1808:
1805:
1804:
1798:
1793:
1790:
1785:
1784:Renato Bruson
1780:
1775:
1772:
1769:
1768:
1762:
1760:
1755:
1752:
1750:
1745:
1740:
1735:
1732:
1729:
1728:
1724:
1722:
1717:
1714:
1709:
1704:
1699:
1696:
1695:
1691:
1686:
1683:
1681:Henk Driessen
1679:Ernest Blanc,
1676:
1671:
1668:
1667:
1663:
1658:
1655:
1650:
1645:
1640:
1637:
1634:
1633:
1627:
1625:
1620:
1617:
1615:
1610:
1605:
1602:
1599:
1598:
1595:Cat: HOCO 31
1592:
1590:
1585:
1582:
1575:
1570:
1567:
1566:
1563:Cat: LM 1848
1560:
1558:
1554:
1549:
1546:
1542:Risë Stevens,
1539:
1536:
1533:
1532:
1528:
1521:
1518:
1516:
1511:
1507:Risë Stevens,
1504:
1501:
1500:
1496:
1489:
1486:
1481:
1477:Risë Stevens,
1474:
1471:
1468:
1467:
1461:
1456:
1449:
1444:
1441:
1438:
1437:
1431:
1428:
1424:Eugène Bigot,
1423:
1418:
1411:
1408:
1407:
1401:
1394:
1391:
1387:Paul Cabanel,
1384:
1379:
1376:
1375:
1371:
1364:
1361:
1359:
1358:Norman Cordon
1354:
1349:
1344:
1341:
1340:
1334:
1330:
1325:
1322:
1317:
1312:
1307:
1304:
1301:
1300:
1296:
1291:
1283:Cast: Samson,
1282:
1279:
1278:
1272:
1270:
1268:
1262:
1261:
1257:
1253:
1252:
1248:
1247:
1241:
1239:
1228:
1212:
1201:
1191:
1189:
1187:
1183:
1177:
1173:
1169:
1168:
1161:
1159:
1157:
1153:
1149:
1144:
1140:
1137:
1133:
1129:
1125:
1121:
1117:
1113:
1110:, a group of
1109:
1104:
1103:
1096:
1091:
1089:
1085:
1084:
1080:
1074:
1070:
1067:Adolf Hennig
1066:
1063:
1060:
1059:
1055:
1052:
1049:
1048:
1044:
1041:
1038:
1037:
1033:
1030:
1028:
1024:
1023:
1019:
1017:
1014:
1012:
1011:
1007:
1002:
1001:
998:
995:
993:
990:
988:
984:
983:
980:
977:
975:
971:
970:mezzo-soprano
968:
966:
963:
962:
959:
956:
954:
951:
949:
946:
945:
941:
940:Eduard Lassen
935:
933:
930:
927:
926:
920:
916:
912:
905:
903:
901:
897:
889:
887:
885:
884:mezzo-soprano
881:
874:
872:
854:
850:
849:Enrico Caruso
835:
818:
816:
815:Lars Cleveman
812:
808:
804:
800:
799:Denyce Graves
796:
792:
787:
783:
781:
777:
773:
767:
762:
758:
754:
750:
746:
745:Elīna Garanča
742:
741:Olga Borodina
738:
734:
733:Olga Borodina
730:
726:
722:
718:
714:
710:
709:Enrico Caruso
706:
702:
697:
695:
691:
687:
683:
679:
674:
672:
667:
660:
657:conducted by
656:
652:
648:
641:
639:
637:
633:
629:
625:
621:
616:
614:
610:
606:
602:
598:
594:
590:
586:
582:
577:
575:
570:
566:
562:
558:
554:
550:
546:
542:
538:
537:Carnegie Hall
534:
530:
526:
519:
515:
511:
507:
505:
501:
497:
493:
489:
485:
481:
477:
473:
469:
465:
461:
457:
453:
449:
445:
441:
437:
429:
427:
425:
420:
416:
415:Eduard Lassen
408:
404:
399:
392:
387:
385:
383:
379:
375:
371:
368:
367:mezzo-soprano
364:
360:
356:
352:
348:
347:
346:Das Rheingold
342:
338:
337:
328:
324:
320:
316:
314:
310:
306:
302:
297:
293:
285:
281:
277:
272:
267:
262:
259:
257:
253:
252:
247:
243:
239:
235:
231:
227:
223:
215:
213:
211:
207:
206:mezzo-soprano
202:
201:
194:
189:
185:
181:
180:Old Testament
177:
173:
169:
164:
162:
157:
152:
148:
144:
140:
136:
132:
128:
127:
116:
112:
111:Ducal Theatre
98:
94:
91:
88:
84:
80:
76:
73:
70:
66:
58:
52:
47:
44:
40:
36:
31:
19:
3557:
3528:Rock of Etam
3513:Hazzelelponi
3461:
3426:" (Gershwin)
3408:
3407:
3399:
3385:(Jabotinsky)
3380:
3372:
3358:
3339:
3331:
3323:
3315:
3307:
3299:
3291:
3283:
3275:
3267:
3244:
3220:
3212:
3204:
3196:
3188:
3180:
3172:
3164:
3156:
3084:
3059: (1908)
3054:
3040: (1896)
3035:
3021: (1913)
3016:
3013: (1878)
3008:
3005: (1875)
3000:
2997: (1858)
2992:
2978: (1921)
2972: (1921)
2966: (1921)
2960: (1915)
2954: (1905)
2948: (1897)
2942: (1896)
2936: (1891)
2930: (1887)
2925:
2916:
2908:
2905: (1885)
2899: (1881)
2893: (1875)
2881: (1871)
2875: (1871)
2870:
2866: (1865)
2854: (1864)
2848: (1862)
2836: (1853)
2819: (1880)
2814:
2811: (1874)
2807:
2803: (1872)
2798:
2780: (1919)
2775:
2770: (1902)
2764: (1887)
2759:
2756: (1880)
2750: (1872)
2744: (1866)
2738: (1863)
2733:
2730: (1859)
2724: (1858)
2707: (1896)
2703:The Egyptian
2702:
2697: (1891)
2692:
2689: (1875)
2683: (1869)
2677: (1868)
2671: (1858)
2647: (1886)
2642:
2637: (1859)
2631: (1856)
2626:
2621: (1853)
2604: (1911)
2599:
2596: (1905)
2591:
2588: (1904)
2583:
2580: (1901)
2577:Les barbares
2575:
2572: (1895)
2567:
2564: (1893)
2559:
2556: (1890)
2551:
2548: (1887)
2543:
2540: (1883)
2535:
2532: (1879)
2527:
2511:
2510:
2507: (1872)
2502:
2499: (1865)
2494:
2424:
2416:
2400:
2382:
2370:
2349:
2345:
2327:
2324:Riemens, Leo
2301:
2292:
2291:
2281:
2272:
2263:
2254:
2244:
2239:
2229:
2222:
2217:
2207:
2202:
2189:
2184:
2175:
2168:(in Italian)
2161:
2119:
2068:
2067:
2055:
2005:& Chorus
1997:Egils Siliņš
1965:James Levine
1905:CD: Philips
1889:Agnes Baltsa
1847:Jon Vickers,
1827:Julius Rudel
1685:Jean Fournet
1672:Jon Vickers,
1653:Anton Diakov
1649:Ernest Blanc
1604:Set Svanholm
1584:Fritz Rieger
1574:Ebe Stignani
1571:Ramón Vinay,
1520:Fausto Cleva
1515:Norman Scott
1505:Ramón Vinay,
1484:Osie Hawkins
1457:Hans Altman,
1452:Fred Destal,
1348:Risë Stevens
1345:René Maison,
1263:
1259:
1258:
1254:
1250:
1249:
1245:
1244:
1181:
1178:
1174:
1170:
1166:
1165:
1145:
1141:
1105:
1101:
1100:
1072:
1004:
938:(Conductor:
918:
895:
893:
879:
877:
811:Anna Larsson
785:
784:
729:Julius Rudel
707:as Delilah,
698:
686:Philadelphia
675:
670:
665:
663:
654:
617:
601:Alice Cucini
578:
524:
523:
520:, 1834–1890)
513:
460:Rosine Bloch
456:Éden-Théâtre
439:
435:
433:
418:
412:
406:
381:
354:
344:
334:
332:
326:
289:
279:
278:(1821–1910)
264:
260:
249:
241:
240:'s libretto
222:choral music
219:
212:repertoire.
184:French opera
165:
141:to a French
125:
124:
123:
57:Gustave Doré
3603:1877 operas
3543:Samson Unit
2986:Vocal music
2964:Oboe Sonata
2742:Cello Suite
1896:Simon Estes
1863:Colin Davis
1788:Pierre Thau
1744:Bernd Weikl
1639:Jon Vickers
1628:CD: Caprice
1548:Robert Shaw
1488:Emil Cooper
1473:Ramón Vinay
1462:CD: Walhall
1448:Res Fischer
1434:Cat: MR502
1320:John Gurney
1306:René Maison
1289:Abimélech)
1120:Philistines
1061:Old Hebrew
1034:Karl Knopp
1003:Abimélech,
915:Jane Margyl
764: [
651:Walter Hyde
569:Pol Plançon
563:as Dalila,
553:New Orleans
488:Paris Opéra
484:Montpellier
378:Paris Opéra
351:Franz Liszt
323:Franz Liszt
234:Mendelssohn
135:grand opera
39:Grand opera
3597:Categories
3455:Television
3352:Literature
3240:Doc Samson
3142:depictions
3048:Film score
2946:Barcarolle
2612:Symphonies
2569:Frédégonde
2545:Proserpine
2537:Henry VIII
2064:References
1734:James King
1538:Jan Peerce
1337:Cat: 2273
1316:Ezio Pinza
1292:Conductor,
1273:Recordings
1267:Bacchanale
1238:media help
1182:Je t'aime!
1156:tambourine
1148:plainchant
1132:Israelites
1027:Philistine
932:Voice type
871:media help
861:" in 1916.
761:Hans Kaart
688:, Boston,
636:Paul Franz
518:Carl Bloch
280:(pictured)
104:1877-12-02
68:Librettist
3002:Le Déluge
2761:Havanaise
2655:Concertos
2627:Urbs Roma
2593:L'ancêtre
2113:Macdonald
1989:José Cura
1644:Rita Gorr
1454:Max Eibel
1402:CD: Naxos
1335:CD: Guild
974:contralto
809:in 2008 (
803:José Cura
772:José Cura
757:Rita Gorr
664:By 1906,
615:in 1899.
589:La Fenice
226:oratorios
210:contralto
129:(French:
3404:(Handel)
3377:(Milton)
3140:Cultural
3091:Category
2958:Cavatine
2918:Le cygne
2888:♭
2873:, Op. 37
2861:♭
2601:Déjanire
2399:(1928).
2381:(1976).
2369:(1955).
1555:and the
1081:Synopsis
1056:Winiker
1020:Dengler
992:baritone
890:Libretto
791:La Scala
727:, under
694:Montreal
593:La Scala
472:Toulouse
464:Bordeaux
238:Voltaire
170:tale of
168:Biblical
143:libretto
96:Premiere
86:Based on
78:Language
3498:Delilah
3438:Delilah
3067:Related
3037:Javotte
3010:Requiem
2871:Romance
2553:Ascanio
2436:Gallica
1763:CD: BMG
1285:Dalila,
1116:Jehovah
1112:Hebrews
1086:Place:
690:Chicago
531:at the
374:Croissy
359:Algiers
178:in the
153:at the
102: (
61:c. 1860
3613:Operas
3573:Portal
3503:Manoah
3445:Samson
3431:Samson
3401:Samson
3382:Samson
3344:(2018)
3341:Samson
3336:(1996)
3328:(1991)
3320:(1984)
3312:(1965)
3304:(1961)
3301:Samson
3296:(1953)
3288:(1949)
3280:(1922)
3272:(1914)
3269:Samson
3252:Samson
3233:Comics
3132:Samson
3029:Ballet
2897:Septet
2694:Africa
2585:Hélène
2561:Phryné
2488:Operas
2334:
2309:
2192:(1981)
1297:Label
1124:chorus
1053:tenor
1031:tenor
1025:First
1006:satrap
965:Dalila
948:Samson
921:(1905)
751:. The
692:, and
585:Venice
574:Boston
529:Monaco
486:. The
482:, and
476:Nantes
468:Geneva
341:Weimar
246:Rameau
242:Samson
230:Handel
151:Weimar
115:Weimar
81:French
3587:Opera
3553:Crane
3493:Bedan
3486:Other
3393:Music
3293:Aurat
2891:major
2864:major
2715:Other
2662:Piano
2069:Notes
1975:DVD:
1280:Year
1192:Act 3
1162:Act 2
1152:Sorek
1128:fugue
1108:Dagon
1097:Act 1
1064:bass
1042:bass
987:Dagon
953:tenor
928:Role
906:Roles
768:]
494:with
480:Dijon
448:Rouen
188:arias
3537:book
3261:Film
2332:ISBN
2322:and
2307:ISBN
2196:IMDb
2016:2007
2008:CD:
1985:1998
1946:1998
1910:1991
1880:1989
1861:Sir
1844:1982
1806:1981
1770:1978
1730:1973
1697:1970
1669:1964
1635:1962
1600:1956
1568:1955
1534:1954
1502:1953
1469:1949
1439:1948
1409:1948
1377:1946
1342:1941
1302:1936
1136:aria
1114:beg
1088:Gaza
1016:bass
1010:Gaza
813:and
801:and
778:and
747:and
739:and
699:The
296:duet
292:aria
244:for
232:and
3150:Art
2344:. "
2194:at
1008:of
972:or
817:).
422:to
228:of
145:by
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