Samson et Dalila (Samson and Delilah) is a French grand opera in three acts and four scenes, composed by Camille Saint-Saëns and set to a libretto by Ferdinand Lemaire. Based on the Biblical tale of Samson and Delilah from Chapter 16 of the Book of Judges, it is known to be a mix between an opera and an oratorio, and is the only opera by Saint-Saëns that is regularly performed today.
Set in Gaza during the Biblical period (c. 1150 B.C.), the story follows the heroic Samson, blessed with divine strength by God that is tied to his long hair, who encourages his fellow enslaved Hebrews to fight back against their cruel Philistine masters. However, the High Priest of Dagon decides to fight back, and sends Dalila to seduce Samson and find out the source of his strength. Despite all warnings not to give into his desires, Samson succumbs to the seductive charms of Dalila, with disastrous results for himself, and for the rest of the Hebrews.
After its premiere at the Ducal Theater in Weimar on December 2nd, 1877, the opera was a huge success with critics and audiences. However, it languished in obscurity for twenty years before seeing international popularity in the 1890s, following several revivals at many celebrated opera houses in Europe. Since then, the opera has served as a star vehicle for many opera singers, with the role of Dalila being one of the greatest roles for mezzo-sopranos.
This work contains examples of:
- Adaptation Distillation: The opera condenses the story to focusing on Dalila’s seduction of Samson, which happens in Chapter 16 of the Book of Judges. His other heroic deeds such as slaying a lion and his triumph over 1000 Philistines while wielding only a donkey's jawbone are omitted.
- Adaptational Heroism: Samson is portrayed as an inspiring leader with a tender, vulnerable heart, rather than the supernatural hero he's portrayed as in the Bible.
- Alto Villainess: Dalila is sung by a mezzo-soprano, and is one of the most villainous mezzo roles in opera.
- Badass Israeli: While not as prominent as in the Bible, Samson is still very much a badass here.
- Barbarian Longhair: Samson will often have this in most productions, considering that it’s the source of his strength.
- Bittersweet Ending: Samson dies at the end, but he manages to destroy the Temple of Dagon and kill his enemies as well.
- Bullying a Dragon: Abimélech, satrap of Gaza, makes the dumb mistake of attacking Samson with a sword. And of course, this results in him getting instantly killed by Samson.
- Cassandra Truth: The Old Hebrew tries to warn Samson not to give in to Dalila's seduction, but obviously fails.
- Crapsack World: Gaza is this for the Hebrews, who are mercilessly oppressed by the Philistines.
- Curb-Stomp Battle: The fight between Abimélech and Samson in Act I ends in the former’s death.
- Death by Adaptation: Dalila is killed at the end of the opera, along with the Philistines of Gaza.
- The Dog Bites Back: Samson manages to fight back in Act III, all by bringing down the Temple of Dagon upon himself and everyone else.
- Dramatic Thunder: Towards the end of Act II, Samson hears rolling thunder from God, who seems to be warning him not to go to Dalila’s retreat.
- Evil Chancellor: Abimélech, the satrap of Gaza.
- Evil Gloating: Dalila indulges in this after Samson has been blinded and handicapped.
- Evil Sounds Deep: The High Priest of Dagon is a baritone role, and Abimélech is a bass role. Averted with the Old Hebrew, also a bass role.
- Explaining Your Power to the Enemy: While not shown onstage, Samson clearly explains the source of his strength to Dalila, after being seduced by her aria “Mon cœur s’ouvre à ta voix”.
- Eye Scream: Samson has his eyes gouged out after the Philistines capture him, so he’s often blindfolded when Act III comes around.
- Fatal Flaw: Like in the Bible, Samson’s lust for Dalila is his undoing.
- Femme Fatale: Dalila is definitely on the same level as Carmen, yet another operatic femme fatale.
- Glass-Shattering Sound: Samson must sing a B flat at the end of the opera, making him a very challenging role for tenors.
- The Hero Dies: Samson manages to regain his strength, and brings down the Temple of Dagon upon the Philistines and himself.
- Honey Trap: What Dalila ensnares Samson into.
- Hotter and Sexier: Saint-Saëns’ opera definitely brings out the sensuality of the Biblical tale, especially with a focus on the title characters’ inner tensions and desires. And with the Bacchanale towards the end, it truly is a risqué adaptation of a Biblical story.
- Humiliation Conga: Samson undergoes one in Act III, with his hair cut off, thus losing his strength, then having his eyes gouged out, and is subsequently forced to work the grain grinder before being brought to the Temple of Dagon for more humiliation.
- Idiot Ball: Samson takes hold of it when he lets himself be seduced by Dalila.
- Intercourse with You: While not as explicit as most song lyrics, “Mon cœur s’ouvre à ta voix” has a rather suggestive tone to it.
- Kick the Dog: After Samson has been blinded and his hair cut off, he is tortured and mocked by Dalila and the Philistines.
- Love Makes You Dumb: Just like in the Bible, Samson succumbing to his desire for Dalila results in him giving away the source of his strength, and losing that strength in the process.
- MacGuffin: Samson’s hair is the source of his divine strength. If it gets cut off, then his strength will disappear.
- Ms. Fanservice: Dalila in many productions. See Elina Garanca
◊, Shirley Verrett, J'Nai Bridges◊, and Anita Rachvelishvili◊. - One-Man Army: Samson is pretty much this.
- Redemption Equals Death: In Act III, Samson prays to God, who restores his strength once more, then uses that strength to bring down the Temple of Dagon, subsequently killing the Philistines, Dalila, and himself.
- Revenge Ballad: Dalila has one in Act II, when she sings about how she’s only motivated by revenge on Samson.
- A Storm Is Coming: In Act II, when Samson decides to go to Dalila's home, a storm breaks out as foreshadowing of what's to come.
- Shut Up, Hannibal!: Samson delivers a variation of this at the very end.
- Taking You with Me: How Samson decides to go out when he brings down the temple on top of several thousand Philistines and himself.
- Tenor Boy: Samson has shades of this with his inspiring leadership and vulnerable heart, but he’s a dramatic tenor, which requires a pretty powerful voice, so he’s pretty far from boyish in that sense.
- Too Dumb to Live: Samson becomes this when he tells Dalila his weakness.
- Traumatic Haircut: In Act III, Samson’s hair has been cut off, thus destroying his divine strength.
- The Vamp: Dalila is basically this, in addition to the Femme Fatale.
- World's Strongest Man: Samson, of course.
- Wouldn't Hurt a Child: Before he destroys the Temple of Dagon, Samson tells the boy who escorted him into the temple to flee to safety.
