該曲來自聖桑的歌劇《Samson et Dalila 》，劇中是男女對唱的。
歌詞為法語，我試著翻譯了一下，不一定準，見諒。
祝大家新年開心！
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Jessye Norman - Samson and Delilah
Opera Samson et Dalila by Saint-Saëns (Mon coeur s'ouvre a ta voix).
Orchestra of St. Luke's, Jane Glover conducts.
April 1994 at Avery Fisher Hall.
Maria Callas "Mon coeur s'ouvre a ta voix " ( Camille Saint-Saëns)
Mon Coeur s'ouvre a ta voix
Mon Coeur s'ouvre a ta voix 我的心向你的聲音開放
comme s'ouvrent les fleurs 就像鮮花開放在
aux baisers de l'aurore! 黎明的親吻時刻
Mais, o mon bien-aime, 我的摯愛
pour mieux secher mes pleurs, 為了擦幹我的淚
que ta voix parle encore! 請你（的聲音）繼續說
Dis Moi qu'a Dalila tu reviens 告訴我， Dalila ， 你會回來
pour jamais!
Redis a ma tendresse 再向我敘說溫柔
Les serments d’autrefois, 往日的誓言
Ces serments que j’aimais 永遠的誓言
Ah! responds a ma tendresse 用你的溫柔回答我
Verse-moi, verse moi l'ivresse! 倒給我你的醉意
Responds a ma tendresse, etc 用你的溫柔回答我
Dalila, Dalila, je t'aime! Dalia我愛你
Ainsi qu'on voit des bles les 看那沉甸甸的麥穗，
epis onduler
sous la brise legere, 在微風下隨風起伏
ainsi fremis mon Coeur, 我的心也在顫抖
pret a se consoler. 我的心在期待安慰
A ta voix qui m'est chere! 隻有你的聲音可以
La fleche est moins rapide a porter le trepas, 箭不會是那麽快奪走
que ne l'est ton amante a voler 你懷中的情人
dans tes bras!
Samson et Dalila (English: Samson and Delilah) is a grand opera in three acts by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. It was first performed at the Grossherzogliches (Grand Ducal) Theater in Weimar on December 2, 1877 in a German translation.
The opera, based on the Biblical tale of Samson and Delilah, is the one opera by this French composer that is regularly performed. The second act, the love scene in Delilah's tent, is one of the set pieces that define French opera.
History
Saint-Saëns began composing the work as an oratorio in 1868. The original order of composition, however, did not follow that in opera plot. The second act was created first (albeit some fragments used later in chorus in the first act dates as early as 1859, though at that time its use, subject and form was not yet determined). From the very beginning the work was concepted as a grand duet of Samson and Delilah set off against the approaching tempest. That second act was then performed during the private gathering before 1870 War, when even orchestration was not yet done, the composer playing orchestral part on the piano. Soon after that performance, Liszt asked Saint-Saëns to complete the rest of the opera and offered to produce it at Weimar, where he was musical director at the cosmopolitan, progressive and highly musical grand-ducal court.
In France, the fact that the opera was composed of Biblical subject matter created resistance to its staging. Samson, in fact, wasn't heard in France until 1890, receiving its French premiere in the provincial city of Rouen. By that time, Pauline Viardot, who had championed the opera, for whom it was written, and to whom Saint-Saëns dedicated the score, was too old to sing Dalila. In London, the Lord Chamberlain kept Samson et Dalila from being staged, though it was presented as an oratorio, which was the form in which Saint-Saëns had first conceived it.
Ferdinand Lemaire, the librettist, was a French creole dilettante poet,[1] born in Martinique, remembered most now as the librettist for this opera. He was related to the composer, having married a relative, and Saint-Saëns set two of Lemaire's poems, “Souvenance” and “Tristesse”, for voice and piano.[2]
Stature
Delilah is one of the great roles for mezzo-soprano. Saint-Saëns dedicated it to Pauline Viardot, who organized a private performance of the music from Act II at her house in Paris, with Saint-Saëns at the piano, in the vain hope of interesting the director of the Opéra. The selection "Mon c339;ur s'ouvre a ta voix" ("My heart opens itself to your voice") is one of the most popular recital pieces in the mezzo-soprano repertoire. Two of Delilah's arias are particularly well known: "Mon c339;ur s'ouvre à ta voix" and "Printemps qui commence."
Origin
The episode of Samson and Delilah comes from the Old Testament, in the Book of Judges, chapter 16. Like tales of his approximate contemporary Hercules, the violence and erotic extravagance of this folk hero, with its exotic color, reversal of patriarchal strength and catastrophic heroic end, all appealed especially to European Baroque artists of the 17th century.
Roles
| Role | Voice type | Premiere Cast, December 2, 1877 (Conductor: Eduard Lassen) |
|---|---|---|
| Samson | tenor | Franz Ferenczy |
| Abimélech, satrap of Gaza | bass | |
| The High Priest of Dagon | baritone | M. Milde |
| First Philistine | tenor | |
| Second Philistine | bass | |
| A Philistine messenger | tenor | |
| Dalila | mezzo-soprano | Auguste von Müller |
| An old Hebrew | bass | |
| Hebrews, Philistines | ||
（From Wiki)
Even though Camille Saint-Saëns composed a dozen operas, his only work of this genre to have survived the stage is Samson et Dalila (1868-75). If not for his close and influential friendship with Liszt, the composition may never have been completed. Even though his chamber works and symphonies attracted considerable attention, more assured musical glory existed in the theater. This stimulated him enough to initiate efforts on what later became his best-known opera, Samson et Dalila.
Saint-Saëns first gained interest in the account of Samson and Delilah when he heard that Rameau's opera, based on Voltaire's libretto of the topic, had failed. Working with his librettist, Creole Ferdinand Lemaire, Saint-Saëns immediately began to work the subject into an oratorio. Under the influence of Lemaire, the composer changed directions and scored it as an opera, beginning with, for no apparent reason, the second act. Viewed as a sacrilegious transformation of biblical scripture, commercial theater managers avoided it as box-office poison. Upon hearing mention of the project, with his usual perspicacity Liszt saw the value of the work and, comfortably backed by the Grand Duke at Weimar, encouraged its completion and promised to have it performed. The outbreak of the Franco-Prussian war thwarted the timely completion of the project; thus, it required a total of eight years to finish. When a portion of the opera was heard on Good Friday 1875, in the Théâtre du Châtelet, the reaction was quite discouraging; nevertheless, it received a full premiere in 1877 at the Grand Ducal Theatre in Weimar, just as Liszt had assured. From there it had its French premiere at the Paris Opéra in 1892, where it was staged 500 times more prior to the composer's death, becoming comparable in success with Faust and Rigoletto.
Even though Saint-Saëns was considerably influenced by masters of the operas such as Wagner, Handel, Offenbach, Gounod, and Meyerbeer, none of his other operas came close to achieving the level of fame and prestige experienced by Samson et Dalila, perhaps due to the composer's lack of theatrical abilities. Attracted to the purity of music, he refused to recognize the emotional and sensual possibilities in his work. Samson et Dalila, which was actually more of a series of tableaux than an opera, had room to avoid these indulgences by nature of its biblical subject matter; however, his other works of this genre, in the eyes of critics, did not. The work is a synthesis of Wagnerian drama and French and Italian operatic forms, containing skillful structures and eloquent melodies. As one of the brightest jewels of French opera, the work is considered "a dream of antique purity and modern orchestral experimentation," which thoroughly demonstrates Saint-Saëns' compositional capabilities.
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