West Bay Opera Presents Camille Saint-Saëns' Samson et Dalila
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The last date listed for Samson et Dalila was Sunday October 23, 2011 / 2:00pm.
Currently at Lucie Stern Theatre
- Full Price:
- $54.00 - $69.00
- Our Price:
- $13.50 - $36.00
Though set in the same building, two romances are separated by a century and an incredible tragedy… More
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This was my first introduction to Samson et Dalila.
Having said that, I must say I was not impressed by the opera itself. The orchestra, chorus and lead singers were great: they impressed me. So, perhaps it was the direction or the opera itself...continued
A late romantic French grand opera, it is the biblical story of Samson, the warrior whose secret of invincibility resided in his long hair. Falling madly in love with Delilah (a most coveted mezzo role with great arias), he reveals to her his secret. She betrays him, cutting off his hair in his sleep and turning him over to the Philistines who enslave and blind him. Mocked and derided during an orgiastic celebration at the temple of Dagon, Samson implores God for a last grant of his erstwhile strength and with it he brings down the temple, massacring the Philistines. Presented in collaboration with Kunst-Stuff ballet company.
General Director : José Luis Moscovich
Conductor : José Luis Moscovich
Director : Ragnar Conde
Choreographer : Yannis Adoniou
Samson : Percy Martinez
Dalila : Cybele Gouverneur*
Grand Priest of Dagon : David Cox
Old Hebrew : Carlos Aguilar
Abimelech : Matthew Lovell
First Philistine : Daniel Galpin
- First appearance with West Bay Opera
About the Ticket Supplier: West Bay Opera
Performing both the familiar and the adventurous, West Bay Opera seeks to please and challenge singers and audiences with three productions per season, one each in October, February, and May. The repertoire includes standard popular works, lesser-known operas and operettas, and occasionally operas by modern composers. Some of West Bay Opera’s greatest successes result from undertaking formidable artistic challenges. Past accomplishments include Bellini’s rarely-performed Norma, Tchaikovsky’s Eugene Onegin in the original Russian, and Wagner’s Der Fliegende Holländer. The principal consideration is always to give talented young opera singers an opportunity to perform challenging roles and, in turn, to give audiences the pleasure of hearing these singers on their way to fame.