Promo MOP Samsom y Dalila RTVE DAVID


Samson et Dalila

Camille Saint-Saëns

2h 27

Samson et Dalila is a representative example of that exoticism which in the 19th century acted as one of the main movements of the French imagination. The only one of his thirteen operas that has remained in the repertoire, Saint-Saëns adheres to an authentic stage tradition that includes titles such as Meyerbeer's L'Africaine, Bizet's Les pêcheurs de perles, or Delibes' Lakmé. The well-known biblical plot is used to create a work that is somewhere between an oratorio and a grand-opera. From the former, the structural sense, the importance of the chorus and a certain staticism, evident in Act I. From the latter, the almost grandiloquent tone, the spectacular staging and the importance of the ballet, as well as an enveloping voluptuousness.


Along with the frequent choral interventions, the numbers of Samson, a tenor with heroic tonalities, and especially those of Delilah, one of the most important roles assigned to the mezzo-soprano voice in the history of the genre, such as the beautiful "Mon coeur s'ouvre à ta voix", from Act II, are worth mentioning. In the orientalism that dominates the brilliant setting, Saint-Saëns uses procedures derived from Arab music, often from North Africa, and which are also reflected in the last of his piano concertos, subtitled "Egyptian" in the Suite Algérienne or in Africa, for piano and orchestra.

Opera in three acts


Music by Camille Saint-Saëns (1835-1921)

Libretto by Ferdinand Lemaire

Production of the Teatro Colón of Buenos Aires

Chorus of Valencia

Principal Orchestra of the Teatro Real

Ballet of the Community of Madrid


Artistic team

Conductor | Luis Antonio García Navarro

Stage director, set, costume and lighting designer | Beni Montresor

Choreographer | Eduardo Lao

Lighting | José Luis Fiorruccio

Assistant to the stage director | Matías Cambiasso

Technical coordinator | Eduardo Caldirola

Répétiteurs | Patricia Bayer, Riccardo Bini, José Antonio Torres

Chorus master | Francisco Perales

Ballet director | Víctor Ullate




Samson | Plácido Domingo

Delilah | Carolyn Sebron

High Priest of Dagon | Alain Fondary

Abimélech | Jean-Philippe Courtis

Old Hebrew | Stefano Palatchi

Messenger | Santiago Sánchez Jericó

First Philistine | Ángel Rodríguez

Second Philistine | Francisco Santiago


Teatro Real
Federico Moreno Torroba
Jesús López Cobos, Emilio Sagi

Plácido Domingo and Nancy Herrera, with José Bros and Mariola Cantarero, star in this dazzling production by Emilio Sagi of Moreno Torroba’s great zarzuela, conducted by Jesús López Cobos.


Set in Madrid in 1868, during the reign of Isabella II, Luisa Fernanda includes some of the most inspired songs in this most Spanish of musical genres, making it hugely popular as soon as it was first performed at the Teatro Calderón, Madrid, on 26 March 1932. The work is a perfect example of the skillful compositions and orchestral arrangements of its author, Federico Moreno Torroba, one of the last great creators of the zarzuela form.


After its performances at the opera houses of Los Angeles and Washington DC, this zarzuela was brought to the Teatro Real by one of its most notable ambassadors: Plácido Domingo.

Teatro Real
Giuseppe Verdi
Nicola Luisotti, Hugo de Ana

In the midst of the Bicentennial and 20th anniversary celebrations, the Teatro Real revived one of its most monumental and emblematic productions of its recent history: Aida, by Giuseppe Verdi. It premiered in 1998 with the staging, scenography, and costumes by Hugo de Ana. Now we will see a restored and updated version of one of the most popular operas by the composer from Busseto.

Under the baton of Nicola Luisotti, principal guest musical director of the Teatro Real and Prize for the Best Musical Director Opera XXI for Turandot at Teatro Real.


From the archive
Richard Strauss
Luis Antonio García Navarro, Henning Brockhaus

On November 3, 1998, Elektra, the extraordinary opera by Richard Strauss, with a libretto by the poet and playwright Hugo von Hofmannsthal, took to the stage of the Teatro Real for the first time, starring the soprano Eva Marton, considered one of the best interpreters of this role in the history of opera.


Among the ruins of La Fenice devoured by fire, recalling the fire that razed the iconic theatre in 1996, the scenography conceived by Ezio Toffolutti for stage director Henning Brockhaus further accentuates the desperation and tragedy of characters devoured by themselves and their destiny.


Eva Marton is accompanied by mezzo-soprano Anne Gjevang and soprano Ana María Sánchez in the leading roles, under the musical direction of García Navarro, who achieves, in this performance, an acclaimed interpretation of the complex score.

From the archive
Jules Massenet
Julius Rudel, Nicolas Joël

Massenet compiled in an exemplary way the resources that help define the genre drame lyrique in the four-act Werther. The use of well-known storylines, in this case Goethe’s novel published in 1774, was the starting point of a repertoire that was not based as much on the creation of clearly-established characters between whom dramatic relationships develop but on verismo, craftily drawing upon prior images conjured by the story’s episodes or by illustrations, where musical values strictly predominated over theatrical values. The romantic despair of Goethe’s hero, with an impossible love leading to his suicide, is softened in the libretto by Blau, Milliet and Hartmann, confined to the everyday life and sentimental boundaries of the bourgeoisie.


Massenet recreates this setting admirably. The singing is perfectly adapted to the peculiar nature and accents of the French language, delivering its discourse with complete naturalness, the melody flowing softly without harmonic complexity, with careful and clear timbre providing restrained expression in line with the character’s feelings, which are also linked to a variety of motifs, on which the work progresses. Charlotte’s grand scene at the start of Act III stands out alongside the excellence and mastery of the protagonist’s arias, such as “Pourquoi me réveiller”.

Teatro Real
Giuseppe Verdi
Nicola Luisotti, Leo Castaldi

La traviata was presented at the Teatro Real in a unique context. The opera was presented with fewer rehearsals than normal and with a stage proposal designed to adapt to circumstances. The entire team of the Teatro Real, as well as the artists and the Titular Chorus and Orchestra, took on the challenge with an enormous sense of responsibility, a lot of imagination and a great enthusiasm for taking another step towards the normalization of artistic life, encouraging the public and the citizens to face with courage and positive spirit the new reality in which we found ourselves.


The stage director Leo Castaldi devised a semi-staged concert version, in collaboration with the light designer Carlos Torrijos and the technical team of the Teatro Real, using elements of props, costumes and characterization from the back of the theatre.



Latvian National Opera
Various authors
Sesto Quatrini, Latvian National Symphony Orchestra

Critics praise her and the audience loves her - Kristine Opolais, the primadonna and the star of the New York Metropolitan opera in a splendid solo concert at the Latvian National Opera. The programme includes arias both from operas that brought Kristine international acclaim and pieces that will be included in her future repertoire.


The beautiful programme, mostly dedicated to Italian music, will encourage you to dream about love and think about what is truly important. It will touch your heart in many ways.