La Rondine - Opening Credits & Introduction with Ren''e Fleming Act 1 - Ah! no! no!....Non dite questo Act 1 - Chi il bel sogno di Doretta Act 1 - Chi il bel sogno di Doretta Act 1 - No. Adesso non burlatemi Act 1 - Un momento: scusi Act 1 - Denaro! Nient'altro che denaro! Act 1 - E poi? ....Basta: '' finito Act 1 - Ah! Ruggero Lastouc Act 1 - Parigi! ''ˆ la citt'' dei desideri Act 1 - Poeta raffinato Act 1 - Buona sera Act 1 - Forse come la rondine Act 1 - T'amo!... Menti!... Che mi riconoscrerebbe? Act 2 - Fiori freschi! Act 2 - Scusatemi... Nella dolce carezza Act 2 - Vuoi tu dirmi che cosa... Dolcezza! Ebbrezza! Act 2 - Ti Prego: dignit''... Che caldo! Che sete! Act 2 - Una fuga una festa Act 2 - Perch'' mai cercate di saper Act 2 - Dio! Lei! Guardala!...Gi'' che il caso ci unisce Act 2 - Bevo al tuo fresco sorriso Act 2 - Rambaldo!...Ah! M'aiutate! Act 2 - Paulette! I nostri amici Act 3 - Senti? Anche il mare respira sommesso Act 3 - E siam fuggiti qui per nasconderlo Act 3 - No. Un segreto Act 3 - Dimmi che vuoi seguirmi alla mia casa Act 3 - Che pi'' dirgli? Che fare... ''ˆ qui? Non so! Act 3 - Avanti vile! Vieni! Fa presto! Act 3 - No! Non m'inganno! Act 3 - ''ˆ una donna felice: lo vedete?... Mi dia da fare subito! Act 3 - Amore mio! ... Figliuolo tu mi dici Act 3 - Ma come puoi lasciarmi? Act 3 - Bows and Closing Credits
Saint-Saens' Samson et Dalila is here realised in a lavish 1981 San Francisco Opera production with Placido Domingo in his prime. Significantly expanded from the famous Bible story of the Jews under the Philistine yoke, and recast in late-19th century romantic terms, the opera was close to the composer's heart: Saint-Saens began work in 1859 but did not complete his score until 17 years later. While elements of the originally planned more formal oratorio remain, Samson et Dalila nevertheless develops considerable dramatic and orchestral power, with Domingo giving a performance worthy of a great tragic hero. Likewise, mezzo-soprano Shirley Verrett brings complex characterisation to the temptress Dalila, offering a performance of such seductive intelligence that her scenes with Domingo spark with electrifying force. Equally fine support comes from Wolfgang Brendel as Samson's nemesis, the High Priest of the pagan god Dagon. Director Nicolas Joel knows when to emphasise the spectacle of the stage production or focus on more intimate personal drama, though it is the latter which is best served in a small screen version somewhat diminished by early 1980s TV technical standards. That aside, this is music drama with the grip of a psychological thriller and is unlikely to disappoint those looking for a feast of fine singing. On the DVD: Samson et Dalila on disc has good if occasionally a little harsh PCM stereo. The 4:3 picture is somewhat soft and prone to blurring, evidencing all the problems of live concert material shot on video. There are optional multi-language subtitles, trailers for two further ArtHaus releases and a booklet with chapter details, cast list, notes on the composer, opera, production and performers, and a detailed synopsis.--Gary S Dalkin
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