New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-11-14

T. fNltN nt4IE LdhtL ny AfdiihOiNo -
Nine. Gcrville- Reache. 1t was repeat
ed twice the next season, but has not
been seen since.
The following description of the
opera is translated from Noel and
Stoulligs "Annales du Theatre ct de
IA Musique" for the year 1892, when
Samson et Dalia" was first performed
at the Grand Opera in Paris:
THE prelude is singular. There IS
a darting phrase which is developed,
and mingled with the phrase is chorus
of Hebrews sung behind the curtain.
The lamenting captives ask deliverence
of God The fugal form Of the num-
Der. which continued till the rising of
the curtain. indicates at once the severe
and classic nature Of the work. Sam
son arouses the courage of his CO.
mates and prepares the revolt which
the insolence of Abimelech hastens 70
fury. Samson kills the Satrap of GAIA,
and the Israelites 90 out at the right
Of the stage The High Priest Of
Dagon descends. attended. from the
temple and curses Samson. The re-
turn of the triumphant Hebrews is one
of the most ingenious numbers OF the
opera. There is chorus OF basses to
which liturgic color and rhythm give
astonishing breadth. and they empha-
size the more strongly the fresh chorus
Of the women Of Philistia, Now
Springs Generous Hand The charm
ing phrase will be found again in the
temple scene, the last tableau, as will
the melodic design of the great duet
of the second act, but ironically in the
orchestra while Dalila insults the
blinded hero. The dance of the Priest
esses of Dagon which follows the
chorus is of delightful inspiration, and
it prepares effectively the grandeur
Of the drama which follows. Dalila
looks earnestly at Samson and sings 10
him, and Samson listens. not needing
the old man near him. who says: The
powers of hell have created this woman
fair 10 the eye 20 disturb thy peace
"The second act is in the Valley OF
Sorek. Dallas house is at the left. II
is surrounded with luxuriant Oriental
plants. Night is coming on. Dalila
sings a passionate appeal to Love, in
voking his aid. Then comes the duet
with the High Priest. who, deceived by
the feigned love of Dalila, begs of her
20 deliver Samson 10 him. Dalila re-
veals her real hatred in q dramatic
outburst. The duet Of Samson and the
temptress is, as is known, the chief
number OF the work. Il is impossible
70 paint better the hesitations OF Sam
son as he stands between love and re-
ligious faith. The great phrase Of Da-
lila is a superb expression of passion.
The orchestral storm hastens the &C
ton on the stage, and when the ele-
mental fury is at its height Dalila en-
tiers her dwelling. Samson follows her,
and the curtain falls on the appearance
Of the Philistines 10 master their foe.
"The first scene OF the third act is a
lament of remarkable intensity. Sam
son rnourns his sin, and a chorus Of
Hebrews behind the scenes reproach
him and despair. The style here is
rather that Of the oratorio than the
opera. An exquisite chorus follows -
Dawn Now on the Hilltops
brings to mind the chorus Of the
Philistines in the first act. Then comes
the ballet so well known in concerts.
From this moment till the fall OF the
curtain there runs in the orchestra a
hurried motive, which Is heard with
rhythmic effect in the evolutions Of the
sacred dance. which caves the measure
70 the bitter mockings of Dalila and
the sacrifcial ceremonies which, con-
stant!y quicker and more impetuous.
accentuate the movement of the final
chorus. The motive is feverish, mys-
teal: its rapid pulsations give the idea
finally OF the religious madness OF the
Philistines inspired by the maddening
rite at the shrine of Dagon. The ball
let il cut in two by phrase Of great
breadth, sustained by arpeggios of the
harp, and thus Is a strange solemnity
given to the dance of the Priestesses.
After the irony Of Dalila and the sup
plication of Samson 70 the Lord comes
a skilfully made canon sung by Dalila
and the High Priest. There is sonor-
Gus chorus Of great brillisncy, in
which effect is gained by simple
means. Samson pulls down the Temple
and the curtain falls with few meas
ures Of orchestral fury"