THE VOICE OF SAMSON: AN EXPLORATION OF THE

VOCAL WRITING IN GILBERT DUPREZ’S

OPERA SAMSON

by

GARRETT ERWIN TORBERT

PAUL H. HOUGHTALING, COMMITTEE CHAIR JOANNA COBB BIERMANN

DAVID TAYLOE AMIR ZAHERI LUVADA A. HARRISON DIANE BOYD SCHULTZ

A DOCUMENT

Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

in the School of Music in the Graduate School

of The University of Alabama

TUSCALOOSA, ALABAMA

2019

Copyright Garrett Erwin Torbert 2019 ALL RIGHTS RESERVED

ABSTRACT

The purpose of this document is to discuss the vocal writing and performance practice of

Samson, a Grand Opera by Gilbert Duprez. This document contains a performing edition of

selected recitatives and arias from the incomplete score from 1837. The edition includes the

orchestral accompaniment, French text, an original English translation, and an annotated score of

Duprez and his brother, Édouard original manuscript from the Harvard Theatre Collection

located in the Houghton Library at Harvard University.

In the nineteenth century, Gilbert Duprez was an internationally-renowned tenor from Paris

who demonstrated exceptional gifts as a singer, influencing a generation of tenors following his

career. His success in the nineteenth century impacted the tenor technique as he gained much

popularity studying in Italy and achieving success from his vocal development there. He reached

a major feat in 1837 after returning from his studies in Italy by singing the first, full chested high

[C5] on stage at the Paris Opera in Rossini’s Guillaume Tell. From this he created a shift in the

tenor technique and impacted the output of tenor repertoire for years to come. His newly

discovered vocal abilities assisted in the creation of new, dramatic repertoire from his

contemporaries, several selections of which he was able to premiere during his lifetime. His

Italian training brought him success not only in the bel canto repertoire, but he was afforded

roles and had immense success singing roles in the French Grand Opera repertoire.

The era in which Duprez’s career skyrocketed was significant in operatic history. The nature

of his vocal maturity inspired composers to adhere to the dramatic qualities of the changing tenor

ii

voice and thus produce larger, dramatic works for the stage. Duprez was better known as a

singer, but he also was a composer. His works are rare. The purpose of this document intends to

showcase a small part of his compositional output. Among his operas, Samson has remained a

mystery to the repertoire due to the fact it is an incomplete score and it is unpublished. I will

focus on uncovering the details of Samson in this document and discuss the tenor role of

Samson. While Duprez did not premiere this role, he did know the heights to which he could

take the tenor voice. This opera provides a clear view of how he achieved a heroic tenor sound

through the drama and music. The representation of the character, Samson in Gilbert Duprez’s

Grand opera by the same name, both heroic and lyrical, illustrates the power and might of one of

opera’s greatest heroes.

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ACKNOWLEDGEMENTS

First and foremost, I would like to thank each of my committee members for their mentorship

and encouragement throughout this process. I would especially like to thank my teacher, Paul

Houghtaling for his support on both this scholarly journey and in my singing career. Your

dedication to my success has been nothing but inspirational and words cannot completely

describe the impact you have made on my life here at the University of Alabama. I would like to

thank Christopher Withrow for your outpour of friendship and enthusiasm, which has kept me

strong and focused throughout this process. I would like to thank Lydia Beasley Kneer and

Brittney Patterson who have been the best of friends on this academic journey. You have both

provided me with a true understanding of friendship and support. When times were hard, you

both kept me going considering you both just went through the same process last year. To my

family, words can never describe how thankful I am to have you in my life. From day one, Mom

and Dad, you saw me as a strong, fearless, human being who persisted and never gave up. You

listened to me and guided me through all of this and have done so since birth. I am eternally

grateful that you have supported me and loved me through all of this. I love you all and thank

you for making me who I am today

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CONTENTS ABSTRACT………………………………………………………………………………………ii

ACKNOWLEDGEMENTS………………………………………………………………………iv

LIST OF FIGURES………………………………………………………………………………vi

CHAPTER 1: BIOGRAPHICAL SKETCH………………………………………………………1

CHAPTER 2: THE SINGING CAREER OF GILBERT DUPREZ………………………………7

CHAPTER 3: FRENCH GRAND OPERA AND A HISTORICAL BACKGROUND OF SAMSON………………………………………………………………………………………....17

CHAPTER 4: ANALYSIS OF THE TENOR ROLE SAMSON……………………………......29

CONCLUSION…………………………………………………………………………………..45

REFERENCES…………………………………………………………………………………..46

APPENDIX A: CHARACTERS AND CORRESPONDING VOICE TYPES………………....49

APPENDIX B: TRANSCRIPTIONS……………………………………………………………50

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LIST OF FIGURES

Figure 2.1. Gilbert Duprez’s Partial Repertoire List, 1826–182…………………………………11

Figure 2.2. Gilbert Duprez’s Repertoire List of Donizetti Operas Performed…………………..12

Figure 2.3. List of Roles Debuted by Duprez at the Paris Opéra………………………………...14

Figure 2.4. Stage Works by Gilbert Duprez……………………………………………………..15

Figure 3.1 Gilbert Duprez, Samson, manuscript opening page, Act I…………………………...20

Figure 4.1. Gilbert Duprez, Samson, Act I, Scene III, mm. 27-30………………………………31

Figure 4.2. Gilbert Duprez, Samson, Act I, Scene III, mm. 31-33………………………………32

Figure 4.3. Gilbert Duprez, Samson, Act I, Scene III, mm. 53-57………………………………34

Figure 4.4. Gilbert Duprez, Samson, Act I, Scene III, mm. 7-12………………………………..35

Figure 4.5. Gilbert Duprez, Samson, Act I, Scene III, mm. 27-35………………………………37

Figure 4.6. Gilbert Duprez, Samson, Act I, Scene III, mm. 109-117……………………………38

Figure 4.7. Gilbert Duprez, Samson, Act II, Scene II, mm. 34-39………………………………40

Figure 4.8. Gilbert Duprez, Samson, Act II, Scene II, mm. 38-42………………………………42

Figure 4.9. Gilbert Duprez, Samson, Act II, Scene II, mm. 64-67………………………………43

Figure 4.10. Gilbert Duprez, Samson, Act II, Scene II, mm. 68-71……………………………..44

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CHAPTER 1: BIOGRAPHICAL SKETCH

This opera of Samson was, I must say, my favorite work, the one in which I put the most, of my

heart, of my mind, of my time, of myself finally. I realized furthermore an idea which belonged

to me and which I believe to be worthy; I offer it to my readers.1

–– Gilbert Duprez

Thus, in his memoir, Souvenir d’un chanteur (1880), Duprez ardently proclaimed his opera

Samson (1837) to be his most prized composition. A singer, teacher, and composer, Gilbert

Duprez (1806–1896) was revolutionary in the development of the tenor voice during his lengthy

career as an opera singer. By means of a thorough assessment of his own unique vocal abilities,

Duprez was able to influence the techniques and vocal development of generations of tenors, in

his time and beyond, while also impacting the stage works of opera composers during the

nineteenth century. Duprez had only minor success as a composer. He wrote eight operas and one

oratorio, among other small compositions. His compositional works, only some in printed

editions, are few and rare. His opera Samson, along with his other unpublished works, is

reflective of the French Grand Opera style, the premiere style of opera in Paris during the first

half of the nineteenth century.

1 All translations are those of the author unless otherwise noted. Gilbert Duprez, “Souvenirs d'enfance,” in Souvenirs d'un Chanteur [Memories of a Singer], trans. Garrett Torbert (Paris: Calmann-Lévy, 1880), 216. Cet opéra de Samson a été, je dois le dire, mon œuvre chérie, celle où j'ai mis le plus, de mon cœur, de mon esprit, de mon temps, de moi-même enfin. J'y réalisai de plus une idée qui m'appartiènt et que je crois bonne; je la livre à mes lecteurs.

1

Duprez’s exceptional vocal gifts afforded him years of successful singing in Europe’s

greatest opera houses. His nearly twenty-five years of success as an opera singer has led scholars

to direct their attention exclusively to Duprez’s vocal caliber. In addition to having executed the

first full-chested high C [C5] on the opera stage, Duprez spent a great deal of his life composing,

while still maintaining his active performing career.

Gilbert-Louis Duprez, born in Paris on December 6, 1806, was the twelfth child in a family

of eighteen children. Duprez’s sizable family and his parents’ low-income employment meant

that money was scarce. Money that was made in the household went to provide the family with

the essentials for living.2 In 1815, Duprez began studying violin and music theory with Monsieur

Le Carpentier, a violinist in an opera orchestra in Paris and father to the renowned French music

educator, Adolphe Claire Le Carpentier (1809–1869). Duprez grew close to the Carpentier

family as his musical artistry began to develop.3

At the age of ten, Duprez took the entrance exam for admission to the Académie des Beaux-

Arts, but he was denied entrance into the program.4 Months later, Duprez spoke with his cousin

Achilles, who had become acquainted with Alexandre-Étienne Choron (1771–1834), at the

Académie des Beaux-Arts in Paris.5 At the time, Choron was an established musicologist and

theory teacher in Paris and, for a brief juncture, served as the director of the Paris Opéra.

Duprez’s cousin insisted that he meet the director to express his interest in pursuing music

studies.6 Duprez was admitted without delay and became a student of the director himself. At the

academy, he studied voice and theory and flourished under Choron’s tutelage. The director

2 J. L. Heugel, “Causeries Musicales – Gilbert Duprez,” Le Ménestrel: Journal de Musique, June 21, 1846. 3 Ibid., 4. 4 Ibid. 5 Ibid. 6 Ibid.

2

taught Duprez in the French tradition of singing, much like he himself was taught. 7 Henceforth,

Choron continued to express to family, friends and colleagues the success and growth of the

young pupil.8 Thus, even in Duprez’s early career, it became apparent to others that the young

musician had an auspicious future ahead of him. At age thirteen, Duprez became a chapel master

at the St. Sulpice in Paris where he composed masses that were performed regularly.9 Duprez

wrote his first opera La Cabane du pechêur when he was seventeen years old. It was given its

first public performance at the Versailles Theatre in 1826.10 His brother, Edouard Duprez (1804–

1879), wrote the libretto for this opera and assisted as librettist for his seven other operatic

compositions. Duprez’s compositional output continued to grow from a range of sacred works,

songs, and operas as he began his career as a singer in Paris.

Gilbert Duprez made his operatic debut at the Odéon-Théâtre de l'Europe in 1825, singing

Count Almaviva in Rossini’s Il barbiere di Siviglia. He was nineteen years old with an annual

salary of 4,000 francs a year.11 His early debut was not well received and critics took issue with

his lack of acting ability and underdeveloped voice.12 Despite his misfortune at the Odéon, he

continued to sing there and further developed as a singer until he was contracted in 1828 by the

Opéra-Comique as a principal tenor for the company. His tenorial contemporaries at the time

included the already established Adolphe Nourrit (1802-1839), who had been the premier tenor

for nearly every theater in Paris in the early nineteenth century. Despite being contracted at the

Opéra-Comique, Duprez could not compete with the success of Nourrit in Paris and instead

7 Ibid., 5. 8 Ibid., 8. 9 Ibid., 2 10Ibid., 10. 11 Ibid., 15 12 Mark Everist, Music Drama at the Paris Odéon, 1824-1828 (Berkeley: University of California Press, 2002), 3.

3

traveled to Italy with the intention of furthering his career with Italian audiences.

Before leaving for Italy in 1828, Duprez married Alexandrine Duperron, another singer and a

pupil of Choron’s. Prior to her marriage, Alexandrine had an established career in France as a

soprano; following her marriage she would become known for performing in many operas

alongside her husband. Their arrival in Italy coincided with the development of new singing

traditions both in Italy and throughout Europe. The Italianate sound in the Italian tenors Rubini,

Nozzari, and Donzelli, inspired Duprez to master his vocal technique.13 His vocal studies in Italy

furthered his vocal production and thus he began to develop a darker color, fuller, with a more

robust tone.14 Composers at the time took notice of the careers of both Duprez and his wife, and

Duprez premiered a number of roles in operas by Donizetti, Meyerbeer, Verdi, Bellini, and

Berlioz. He developed a close working relationship with Donizetti, which led to Duprez

premiering leading tenor roles such as Ugo in Parisina (1833) and Fernand in La favorite (1840),

but most importantly, Edgardo in Lucia di Lammermoor (1835). Duprez became increasingly

popular in Italian opera houses, giving him tremendous opportunities as a singer.

In 1831, Duprez was called upon at a short notice to sing the role of Arnold in the Italian

premiere of Rossini’s Guillaume Tell in Lucca, Italy. The tenor who was originally offered the

role had fallen ill and was unable to sing the performance. His debut performance as Arnold

enabled him to present his newfound Italianate vocal technique to audiences in Lucca. His

13 Michael Lee Smith, Jr. “Adolphe Nourrit, Gilbert Duprez, and the High C: The Influences of Operatic Plots, Culture, Language, Theater Design, and Growth of Orchestral Forces on the Development of the Operatic Tenor Vocal Production” (DMA dissertation, University of Nevada, Las Vegas, 2011), 24. The three tenors mentioned above, Andrea Nozzari (1775–1832), Giovanni Battista Rubini (1794–1854), and Domenico Donzelli (1790–1873) were all successful tenors singing in Italy in the Bel canto tradition at this time. They were all a part of the Bergamo tenor school, founded by Giacomo David and Gaetano Crivelli, which trained tenors in the bel canto style of singing. 14 Ibid., 24.

4

success in Rossini’s opera in Italy gave him the opportunity to venture back to Paris for his debut

at the Opéra in 1837. His newly refined sound established a pivotal movement in the operatic

world and tenor repertoire, and he became known as “the first true Romantic tenor” of the

nineteenth century.

Shortly after his successful return to Paris in 1837, Duprez began to work extensively on a

new, large-scale opera entitled Samson. The work, Samson, was originally conceived as an

oratorio, but later reimagined as a Grand Opera for the stage. His brother Édouard assisted in

writing the libretto along with the famous novelist and playwright Alexandre Dumas. The text

was adapted from the earlier version of the opera Samson by the Baroque composer Jean-

Philippe Rameau (1683–1764). Duprez’s Samson premiered in 1855 at the Hôtel Turgot in Paris,

yet it only received a partial performance due to that fact that Duprez had not completed it in its

entirety. The incomplete performance included only the first three acts. However, in 1857, the

fourth act was added to the grand work.15 At this time, the opera was given a concert

performance, featuring Duprez’s wife, Alexandrine Duperron, and mezzo-soprano Pauline

Viardot in the leading roles. However, the opera has never been given a complete performance,

largely because it remains musically incomplete as it does not include in the original manuscript

all four original acts. The score consists of only acts I and II and with regards to subject material,

the story is left unfinished.

15 Gilbert Duprez, “J,” J & J Lubrano Music Antiquarians, accessed August 31, 2018, This is a handwritten letter to Son Excellence Monsieur le Comte de Morny, président de la Commission Supérieur de l'Opéra Impérial, inviting Duprez to the final performance of Samson. The Lubrano website gives the exact dates and performances of the opera, and includes which acts were performed as part of a private viewing at Duprez’s home.

5

After a career that nearly spanned twenty-five years, Duprez continued to sing with immense

success until his voice declined and he was forced to retire from the stage in 1849. He made his

last public appearance as Edgardo in Lucia di Lammermoor alongside his daughter Caroline

singing the title role of Lucia. In his retirement, he continued to compose and maintain his

position as a singing teacher at the Paris Conservatoire, which began as early as 1842. Duprez

became noted for teaching the next generation of opera singers, including Emma Alabani and Pol

Plançon, among others. He also wrote books on vocal production and memoirs of his life as a

singer. Some of his publications include L’art du chant (1845), Souvenirs d’un chanteur (1880),

and Récréations de mon grand áge (2 volumes) (1888). Duprez’s legacy as a singer has

influenced generations of tenors and also the tenor repertoire.

This document seeks to showcase the innate sensibility Duprez expressed in the vocal writing for

the character of Samson in his opera. Through this exploration, I will analyze the vocal writing

based on the range, tessitura, orchestration, and overall compositional style. I will also discuss

how Samson could be easily integrated into the repertoire for which Duprez was best known

during his lifetime.

6

CHAPTER 2: THE SINGING CAREER OF GILBERT DUPREZ

Bel canto, or “beautiful singing,” was the premiere style of singing in Europe in the earlier

part of the 19th century. It originated from Italy where it became the national style in operatic

culture. The principles of bel canto singing highlighted skillful expressivity, and the components

that defined the style in this era include a distinct vocal timbre, a virtuosic showcase of vocal

agility, a keen ability to improvise, and lyrical ease.16 A host of Italian composers from the 19th

century, among them Rossini, Donizetti, and Bellini, produced works that required these vocal

traits, which set the standard for Italian opera during this time.

National Schools of Singing and Their Influence in Opera From the Italian bel canto style of singing came inspiration for further development of

singing styles throughout Europe. In the eighteenth century, different national styles of vocal

production developed, each with its own particular type of expression and traits. The three main

schools of singing that evolved during this time were the Italian, French, and German. Each of

these schools demonstrated a unique style of singing that highlighted a variety of vocal

characteristics stemming from institutions and generations of singing from a linguistic aspect,

musical expression, and a vocal technique.

The plethora of tenorial enterprise that we now take for granted has not always existed: in the

beginning there were just singers. The modern tenor voice is the product of many centuries of

16 Rodolfo Celletti, A History of Bel Canto. Oxford: Clarendon Press, 1997. 17.

7

evolution: a process that began slowly in the early medieval period with voices that might have

sung in a tenor range and accelerated rapidly from the eighteenth century onwards to become the

complex voice of today’s opera houses and concert halls.17

The dawn of a new singing style for the tenor voice came in April of 1837, when Duprez

sang the first full-chested high C [C5] on stage. This moment occurred at the Paris Opéra, and

brought not only thunderous applause from an enthusiastic Parisian audience, but also exhibited

the substantial feats of Duprez, a tenor trained in both French and Italian schools. Duprez’s

display of his vocal caliber sparked interest in the potential future of nineteenth-century singing.

Duprez had begun his career training in the French school, but it is possible his experience and

training in Italy influenced his singing and gave him his vocal success.18 Pedagogue, teacher, and

singer Richard Miller explains that, “the quality and character of the singing tone in the French

school is more directly determined by the sounds encountered in the spoken language than in any

of the other major schools of singing.”19 This aspect of vocal production in the French language

stands in complete opposition to the Italian tradition. The Italian language allows for freedom

and consistency with an approach to sound production through the use of taller vowels and a

more open throat. To support these differences, one might consider the obvious differences and

phonetic variations in these two languages. Among other distinctive traits between the French

and Italian schools of singing are the exploration of the upper register of the tenor voice.

17 John Potter, Tenor: History of a Voice (London: Yale University Press, 2009), 1. 18 Michael Lee Smith, Jr. “Adolphe Nourrit, Gilbert Duprez, and the High C: The Influences of Operatic Plots, Culture, Language, Theater Design, and Growth of Orchestral Forces on the Development of the Operatic Tenor Vocal Production” (ProQuest diss., University of Nevada, Las Vegas, 2011), ProQuest Theses and Dissertations, Order No. 3494748. 19 Richard Miller, National Schools of Singing: English, French, German, and Italian Techniques of Singing Revisited (Lanham, MD: Scarecrow Press, 1997), .

8

The Italian School places emphasis on a covered tone when ascending in the upper range of

the voice. It remains popular in today’s teaching of the tenor technique chiefly so the transition

through the male passaggio is treated with care. Once the male voice has entered into a certain

range of their voice, they begin a transition point where they must begin to adjust the vocal

mechanism in order to maintain optimal freedom in singing. The Italian School is most known

for providing a refined sense of teaching for this specific transition in the voice. For male voices,

and for Duprez, covering the sound allows for the use of head voice to become implemented so

that weight is not carried into the extremes of their range. This in turn creates a fuller, more

resonant sound so the singer can be heard in a large theatre. Duprez’s formal training in Paris

with Choron gave him the foundation for singing, but he still lacked the vocal maturity needed to

sing over a large orchestra. In the French school of singing, the use of falsetto was often

implemented to ascend into the extremes of the male register. Accordingly, the voice could not

create a full resonant sound that could compete with a large orchestra in the theatre.

The success of Duprez’s singing, therefore, came from the Italian vocal technique, which

combined the use of a lower laryngeal position and a balanced breath and open mouth space

needed to create a free, resonant sound when approaching the upper register of the voice. The

combination of these elements might also have contributed to the success of Duprez’s signature

high C [C5]. The term do di petto comes from the Italian language meaning “from-the-chest”

which is the production of sound combining a more chest resonant sound. Pedagogically, the

larynx remains lowered while the voice combines both the head and chest registers to access the

upper range of the voice freely.20 This combination of registers creates a tone for singing which

we now associate with the operatic tenor voice. While studying in Italy, Duprez spent time

listening to Italian tenors and was highly influenced by the vocal timbre and caliber of tenors in

20 Smith, 129.

9

Italy. Domenico Donzelli, one of the premier tenors in Italy at this time, had also negotiated the

transition into chest voice with great success in Paris at the Théâtre des Italiens.21

Duprez’s Early Career in France and Opera Roles

When Duprez departed to Italy from France in 1828, he was singing lighter Rossini tenor roles,

from operas originally composed in French and those translated from their original languages

into French, following the policy that only French could be sung in theaters in France. Table 2.1

below provides a list of performances given in Paris before his sojourn to Italy. His brief career

at the Odéon in Paris, from 1826 to 1827, he performed several roles, but they bore little

significance in his repertoire, as only a few were part of the standard repertoire of nineteenth-

century French opera.

21 Ibid., 24.

10

Figure 2.1. Gilbert Duprez Partial Repertoire List, 1826–1827

Source: From Michael Lee Smith, Jr.,22

Duprez’s arrival in Italy gave him many opportunities. He was managed by the Impresario

Alessandro Lanari (1787–1852), who furnished him with numerous engagements, which lead to

his opportunity to sing Arnold in the Italian version of Guillaume Tell in 1831. While in the

earlier part of his career Duprez sang light, lyric tenor repertoire, or leggiero roles, upon his

success in Lucca, Italy, with the role of Arnold in Rossini’s Guillaume Tell, a role that had been

sung by Nourrit at its 1829 premier, his repertoire expanded into heavier, more dramatic roles.

His career remained successful in both the French and Italian repertoire, but the connection

formed with Donizetti provided Duprez with a number of featured roles in the famous Italian

composer’s operas, as shown in the table below.

22 Ibid., 20. Twenty performances at the Odeòn Theater in Paris between 1826-1827

Title Role Original Title; Composer/Librettist

Le Barbiere de Séville

Almaviva Il Barbiere di Siviglia, Rossini/Sterbini

Ivanhoé

Ivanhoé

Ivanhoé

Rossini/Antonio Francenso Gaetano Saverio Pacini

Robin des Bois

Tony (Max)

Der Freischütz;

Carl Maria von Weber/Friederich Kind Le Neveu de Monseigneur

Paoli

Le Neveu de Monseigneur

Rossini/Pacini Les Bohémians Crémont/ Sauvage

La Testament Malvitz –– Adolphe et Clara Adolphe –

11

Figure 2.2. Gilbert Duprez’s Repertoire List of Roles Performed in Donizetti’s Operas

*Italian; +French The nature of these roles, which were dramatically heavier and more vocally demanding, suited

Duprez’s voice exceptionally well, and rather than having an increasingly high tessitura to sing,

they showcased a lower tessitura, with occasional ascension into the higher range of the voice for

dramatic effect.23

Duprez returned to Paris in 1837 after establishing himself as a successful singer in Italy. The return was monumental. The bulk of scholarship written on Duprez has emphasized the

monumental high [C5] he sang in Lucca in 1831, and then at the Paris Opéra in 1837, which

would be his home until his retirement at age 49. During his tenure at the Paris Opéra, Duprez

was the only principal tenor, but received accolades and praise for his singing. He shared his

tenorial throne with another French tenor, Adolphe Nourrit. The two never shared the same vocal

characteristics or repertoire, their voices featured significantly different timbres and ranges, and

as a result allowed them to portray strikingly opposite narratives onstage.

Nourrit’s early career at the Paris Opéra focused on performance and repertoire composed

23 Mary Ann Smart, “Roles, Reputations, Shadows: Singers at the Opera, 1828-1849,” in The Cambridge Companion to Grand Opera, ed. David Charlton (Cambridge: Cambridge University Press, 2003), 117-19.

Role Opera Year of Performance Percy* Anna Bolena 1831 Ugo* Parasina 1833

Henry II* Rosmonda d’Inghilterra 1834 Edgar*+ Lucia di Lammermoor 1835

Polyeucte+ Les Martyrs 1840 Fernand*+ La Favorite 1840

12

before the turn of the nineteenth century that told stories portraying characters from myth,

legend, and poetry that incorporated the “light amorous tenor” of early opera. Consequently,

Nourrit’s style of singing and vocal production remained far more connected to the haute-contre

style of singing that paralleled the vocal production of the castrato and which Rossini preferred.

By 1830, Duprez had been singing in Italy for a couple of years and by this time began to sing

roles originally written for or performed by Nourrit in Paris with one significant difference: he

sang them in Italian rather than French. Duprez came to the attention of Gaetano Donizetti and

formed a lasting friendship.

Donizetti was writing operas with libretti that drew inspiration from English literature and

subjects that portrayed natural characters with violent emotions, which in turn challenged and

then took advantage of the darkening voice of Duprez.24 The emotional response from the

Parisian audience after hearing Duprez’s newly trained sound provided the public with a new ear

for this singing style. The spotlight moved away from Nourrit, who had been the principal tenor

at the theatre for many years. Outraged, Nourrit fled Paris to Italy, seeking to learn the vocal

traditions of Italian opera. A year later, after no real success in gaining an Italianate sound,

certainly not comparable to what Duprez produced, Nourrit was driven mad, threw himself off a

hotel balcony, and died.25

With Nourrit’s death, Duprez became the leading tenor in Paris. His overwhelming success

in 1837 resulted in his singing a large repertoire at the Opéra. These roles highlighted his innate

vocal abilities and the rich, metallic tone he brought with him from his work in Italy. His

repertoire continued to expand, not only with the works of Donizetti and other celebrated Italian

24 David Kimball, Italian Opera: National Traditions of Opera, ed. John Warrack (Cambridge: Cambridge University Press, 1991), 1. Michael Smith’s research refers to Kimball’s information for supporting evidence. 25 Potter, 46-49.

13

composers, but French composers as well. He set a standard for a new, distinct sound that

provided profundity and dramatic expression through singing. His voice inspired works by

Berlioz, Halévy, and Auber, all eminent composers of the French grand opera tradition.

Figure 2.3. List of Roles Debuted by Duprez at the Paris Opéra

Role Opera Composer Date

Guido Guido et Ginevra Halévy 1838

Cellini Benvenuto Cellini Berlioz 1838

Albert Le Lac des Fées Auber 1839

Polyeucte Les Martyrs Donizetti 1840

Fernand La Favorite Donizetti 1840

Gerard Le Reine de Chypre Halévy 1841

Dauphin Charles VI Halévy 1843

Sebastien Dom Sébastien, Roi du Portugal

Donizetti 1843

Gaston Jerusalem Verdi 1847

14

The operas that Duprez performed at the Opéra were significant influences on his own

compositions, particularly in their musical structure and size. Duprez’s operas are largely

dramatic and religious, focusing on historical, mythical, and serious plots. While they remain

unknown to modern day audiences, their substance is equal to the operas he had made famous as

a performer. He wrote eight operas, one oratorio, among other small compositions that include

song literature.

Figure 2.4. Stage Works by Gilbert Duprez26

26 Source: List of stage works compiled from Gilbert Duprez’s memoirs, Souvenirs d’un chanteur,1880.

Opera and Oratorio Year Composed Performance Theatre La Cabane du pêcheur 1826 Versailles

L’Abîme de la Maladetta 1851 Bruxelles

Joanita ou la Fille des Boucaniers

1852 Théâtre-Lyrique

La Lettre au bon Dieu 1853 Opéra-Comique

Jélyotte ou Un passe- temps de Duchesse

1854 Salle Duprez

Samson 1857 Hôtel Turgot in Paris and Berlin

Jeanne D’arc 1865 Grand-Théâtre- Parisien

Le Jugement Dernier, oratorio en 3 parties

1868 Cirque de l’Impératrice

La Pazza Della Regina 1877 Unknown

15

Duprez’s voice helped to inspire new repertoire and a new singing style in nineteenth-century

operatic works; which also expanding his musical abilities through composition. In chapter 3 I

will show how Duprez drew inspiration from the French Grand Opera tradition and worked to

create his opera Samson in this contemporary style.

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CHAPTER 3: FRENCH GRAND OPERA AND THE HISTORICAL BACKGROUND OF SAMSON

Upon the defeat of Napoleon in 1815, during the French Revolutionary wars, citizens

returned to normal life in Paris, a life that would once again include music. Leon Plantinga

remarks that “a new government and societal order exerted an abrupt and profound effect on the

arts and culture of Paris.”27 This resurgence in musical culture led Paris to become the capital of

opera in Europe during the nineteenth century. The arts had been a luxury for the rich and the

royal, but with the expansion of the middle class, the arts became more accessible, affordable

and a primary source of entertainment for more of the population.

Theaters formed throughout Paris, providing entertainment in opera, plays, concerts, and

vaudeville. These theaters were organized with a perplexing system of rules and regulations. Due

in part to the cost of productions and their success, the government and monarchy subsidized

these theaters. Rules governing these theatres established the compositional output for operas

and their performing houses. Three main theaters were institutionalized in Paris for operatic

performance: the Opéra-Comique, which included spoken dialogue in between musical numbers;

the Théâtre des Italiens, which played only Italian opera; and, finally, the Paris Opéra, the

premier theater and home to Grand Opera during the nineteenth century, and the theater in which

all text was sung.

27 Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe (New York: W. W. Norton & Company, 1985), 168.

17

Grand Opera provided a visual spectacle for its audiences and focused on works with serious

plots. Operas written in this style were epic in size, consisting of four or five acts. A few of

Grand Opera’s main components included an emphasis on historical and political drama, an

expansion of both the chorus and orchestra, and the use of larger theaters to accommodate larger

productions.

Historical Background of Samson The story of Samson is found in the book of Judges, chapters 13 through 16. Prior to

Duprez’s version of Samson, there were other adaptations of the story of the biblical hero. One of

the first settings was composed in 1677 by Giovanni Paola Colonna and entitled Il Sansone.

Following this came Sansone accecato da Filistri (1700) by Francesco Antonio Uri, Samson by

Jean Philippe-Rameau, Simson (1770) by Georg von Pasterwitz, and Il Sansone (1824) by

Francesco Basili.28 Rameau’s opera Samson consisted of a prologue and five acts, and was a

particular inspiration to Duprez. Rameau’s libretto was adapted from François- Marie Arouet,

better known under his nom de plume, Voltaire (1694– 1788). However, Voltaire faced serious

criticisms due to his strong opinions on the church, but his libretto was eventually published.

Moreover, Rameau’s opera was never performed due to French censorship. Duprez also

employed the same primary source libretto by Voltaire to eventually construct the libretto for his

Samson. Later, following Duprez’s setting, Camille Saint-Säens composed his version of

Samson, Samson et Dalilá (1877), which remains a staple in the operatic repertoire today.

However, biblical stories conceived for the operatic stage were met with tremendous

opposition because theatrical performances based on religious subjects were prohibited and

28 Henry Edward Krehbiel, A Second Book of Operas: Their Histories, Their Plots, and Their Music [1917] (New York: Cornell University Library, 2009), 24.

18

greatly criticized in France and England, by both the Church and the government. To abide by

government regulations, religious stories were musically set as oratorios or were censored for the

public by changing the names of characters and eliminating scenes that could be considered

immoral propaganda.29 Librettists’ integration of pagan folklore into sacred biblical accounts,

especially with the story of Samson, offended censors, causing public performances of such

works to be banned or barred. Oratorio was the primary genre that allowed biblical texts or

stories to be set to music and even then oratorios were performed only in the church; thus,

because of French censorship, Rameau’s Samson was never performed.30 The music was reused

in other works and Voltaire eventually published his libretto for the opera.31

Genesis: The Development of Duprez’s Libretto Duprez’s and Rameau’s librettos for the story of Samson are based on the same source

material but are certainly not verbatim copies of each other. As Duprez began writing his version

in 1837, he worked to adapt the libretto from this previous source material with the assistance of

his brother, Édouard, and his friend Alexandre Dumas père. Their collaboration gave birth to a

two-part oratorio to which Duprez later, on the advice of Dumas, added two more parts, creating

a Grand Opera.32 Duprez’s works naturally showed many of the features of this genre, simply

because of his choice of subject. Duprez’s Samson centered on a serious recalls the biblical tale

of Samson described in the Bible of his heroism amidst religious turmoil with the Philistines.

Duprez employed the help of Dumas to assist his brother on the libretto. Dumas had achieved

great renown as a novelist, playwright, and librettist in Paris and is most famous for his novels

29 Ibid,.1. 30 Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work, rev. ed. (New York: Dover Publications, 1990), 194. 31 Ibid., 194. 32 Duprez, Souvenirs, 215.

19

The Count of Monte Cristo and The Three Musketeers.

Duprez’s finished work encompasses four acts, but the manuscript obtained from the

Houghton Library at Harvard University is incomplete, with only two surviving acts. In March of

1855, the first three acts of the four were presented at the Hôtel Turgot in Paris.33 The fourth act

was added and the whole was then premiered in March, 1856.34 The texts of the two surviving

acts are similar in structure to Voltaire’s libretto.

Figure 3.1 Gilbert Duprez, Samson, manuscript opening page, Act I. [Houghton Library,. M1500.D935 S3] The opening page of the original manuscript is authenticated with Édouard Duprez’s

signature and the date, 1837. It is possible that Duprez began composing Samson in 1837,

although there is no evidence indicating any performance prior to 1855, when a private

33 Jouvin Benoît, “Chronique Musicale,” Le Figaro, March 25, 1855. 34 Duprez, Souvenirs, 216.

20

performance for members of the senate, ministers, and others of the Paris distinguished elite is

documented.35 The featured performers for this concert were mezzo- soprano Pauline Viardot;

Duprez’s daughter, Caroline Duprez; and Monsieur Jules Puget in the role of Samson.

As mentioned, Duprez used Voltaire’s original source material as the subject for his opera

but does not follow the libretto text verbatim, as he adapted the story with the help of Dumas and

his brother. However, there is a printed edition of Duprez’s libretto, which has been translated

into German and Italian.36 This German version represents a variant of the libretto text of the

extant musical fragment of Duprez’s original work from 1837; perhaps these differences stem

from the demands of French censorship; or possibly this was an early draft of the work that

Duprez continued to revise.

The German version was performed 1857 in concert in Berlin under the same title, Samson.

The alterations made in the German translation take liberties with the content, adding new

characters and omitting ones from Voltaire’s original source. In the biblical telling of the Samson

story (Judges, chapters 13–16), Samson’s mother is not named and plays a minor role. In the

German translation she is named Mehala and is the third principal character, alongside Samson

and Dalila.37 The mother of Samson was sung by Viardot for the initial performance and the

Berlin performance.38 There are no named characters that represent pagan deities, but there is

35 Duprez, Souvenirs, 222. 36 Ibid., 226. The German translation exists and I obtained a copy from the Library of Congress’ Theatre Archives. The libretto includes what seems to be the later version that premiered in Germany in 1857 including Samson’s mother, Mehala. It does not follow the original material from the 1837 score. The Italian translation of Samson has not been located. I reached out the Library of Congress for further inquiries, but was not able to obtain an existing copy of the Italian translation. 37 Ibid., 222. 38 Ibid., 222.

21

often mention of gods worshipped by the Philistines, such as Venus and Mars.39

The adaptations of the biblical story Duprez makes in his libretto are comparable to those of

Voltaire, but more significant to this study are the slight changes seen in Duprez’s version with

regards to slight changes in text. In comparison to Voltaire’s libretto, here Roman gods replace

Dagon for the Philistines’ worship. These gods are only referenced in the libretto text and are

never seen as a named character in the opera. A striking difference between Voltaire’s libretto

and Duprez’s text is the introduction of another, non-biblical character, Alida. (This figure is

borrowed from a Puerto Rican folktale. “The Legend of the Hummingbird” features a young

Indian girl, who is in love with another Indian boy, Taroo.)40 Upon first seeing the resting

Samson in the garden, Dalila calls out to Alida, the daughter of a great Indian chief. From

biblical scripture, it is understood that Dalila betrays Samson by seducing him into forfeiting the

secret of his strength. Voltaire centers his libretto on the love story of Samson and Dalila.

Unfortunately, we do not know Duprez’s complete version of the story. The source of the

reference to Alida in Duprez’s opera could have been a literary contribution of Dumas, as a

means of enhancing the plot of the ill-fated lovers.

39 Voltaire, Œuvres complètes de Voltaire, vol. 3: Avec Préfaces, Notes et Commentaires Nouveaux; La Henriade, Theatre (Paris: Garnier Frères, 1877). 40 John Warner, “Mythology: A Study of Puerto Rican Myths, Legends and Folktales,” http://teachers.yale.edu/curriculum/viewer/new_haven_82.05.09_u. While this leaves room for speculation, the reference to the Indian chief’s daughter is interesting since Dumas is of Haitian descent. He was born in the French colony Saint-Domingue, modern day Haiti. This could be a story he was told as a child or during his life, demonstrating the similar love stories by Voltaire and the PuertoRican folktale.

22

Samson, the opera

Cast of Characters Samson

Dalila

Le Roi des Philistines Le Grand-Prêtre

Les choeur des Hebreux et Les Israëlites Coryphée Plot Act 1, Scene 1, Number 1 Chorus of Israelites Voltaire’s libretto opens with a Prologue, but Duprez has altered his version by eliminating

parts with the pagan deities who sing of virtues and pleasure. Duprez’s first scene depicts the

Hebrews lying on the banks of the Adonis River, lamenting their captivity and longing for

freedom, “Tribus Captives.”

Number 2 As the scene continues, an Israelite bemoans the forty winters they have endured and endless

suffering that consumes their daily lives. While watching the Philistines worship their false idols,

Samson sing of the horror his Hebrew people have been submitted to during their enslavement.

The next character introduced is the Coryphée. She is also featured in Voltaire’s libretto as a

minor character. In Ancient Greek drama the Coryphée was the leader of the chorus and in this

scene the character appears as though watching over the laboring Hebrew souls.

23

Scene 2, Number 3 Scene 2 depicts the Philistines along with their High Priest praying to the false idols, around

an altar. Amid this pagan worship service, the Hebrews exclaim that they must flee. The High

Priest mocks them, “Esclaves, demeurez, Demeurez: votre Roi par ma voix vous l'ordonne,”

(Slaves, abide, Abide: Your King by my voice commands thee) and claims they can never be

released from their irons, and it is time they knew the gods of their masters.

Number 4 The chorus reacts with swift words, “Périsse, périsse. Ce temple et cet autel,” (Perish, perish.

This temple and this altar) saying they would rather be engulfed by hell than submit to

worshipping false gods, and that the temple and the altar will be destroyed. The High Priest

continues to ridicule the Hebrews, declaring that such boldness would cause war among the

nations. The Israelites continue to challenge the priest and show fearlessness toward the tyrant.

Scene 3, Number 5 Entering, wearing a lion-skin coat, Samson is hailed by the Israelites as their hero, whom

they have longed to see. He sings of the horror the Israelites have been forced to live in, and calls

on them to avenge themselves, “Quel spectacle d'horreur ! . . . Venge ta cause, venge-toi” (What

a horror show! . . . Avenge your cause, avenge yourself) Samson overturns the idols angering the

Philistines. The High Priest becomes increasingly angry and demands that Samson, like the rest

of his people, be captured and punished.

24

This provokes Samson to exhibit his great strength, causing lighting to strike and burn the

Philistine fields. He then reassures his people that God has not forgotten them, and that he has

been sent to protect and save his people, “Peuple, éveille-toi, romps tes fers . . .Liberté ! Liberté

!” (People, wake up, break your shackles... Freedom! Freedom) This marks the end of Act 1 in

Duprez’s manuscript.

Act 2 In Act 2, Duprez ceases labeling each scene, but rather indicates the form of the piece by

titling the sections “Duet,” “Trio,” “Cantabile,” and so on. For the more extended musical

numbers, ordinarily considered scenes, he simply marks on the score “Récit et air.” Particularly

in Act 2, Duprez writes for Samson a true scena. This type of structure was often a component in

a Rossini opera, but unusual in a French work of that era. Later it became a chief element in

operatic composition in the nineteenth century throughout Europe.41

Récit et choeur Act 2 begins with the introduction of the Philistine king. He is residing in his palace among

his people, who are disturbed that such a man as Samson dare defy the King’s power, “Ainsi ce

peuple esclave, oubliant son devoir?” (Thus this slave people, forgetting their duty?) The king’s

soldiers tremble in fear as they are ordered to go and capture the man dressed in the skin of a

lion.

41 Jack Westrup, s.v. “Scena” Grove Music Online (January 2001).

25

Trio Dalila appears for the first time in the trio. She is with the King and the High Priest, who are

wandering around a grove, praying to the Gods of Syria, and to Mars and Venus, to protect them

from Samson. Dalila prays to be given the power of seduction to lure Samson into revealing

what gives him his great courage. An Oracle of Syria appears and explains to her that there is

only hope in love. Dalila, along with two Coryphées, decides to wait for Samson in a nearby

garden.

Duetto et choeur Watching over Samson as he sleeps, the Priestesses of Venus sing for the pleasures to soften

the soul of the Gods and allow love to illuminate the souls of Samson and Dalila.

Finale The Finale of Act 2 concludes with Samson returning to free his people from distress. The

Philistines and the Priestesses of Venus plead with Samson not to leave behind his new- found

love, and to stay and feast with them. Samson comforts Dalila, saying she must trust in him and

that she is his only hope. This ends Act 2 in Duprez’s manuscript.

26

Conclusion to Voltaire’s Plot Duprez’s opera ends after Act 2, but for further understanding of the plot and the conclusion,

I have included the rest of Voltaire’s plot to complete the comparison. The end of Act 2 leaves us

with uncertainty about what is to become of the pair of lovers and the hero’s fate. In Voltaire’s

libretto, the story continues with Dalila singing to the gods of her love for Samson, and of her

being asked by the High Priest to uncover the secret of his strength. Upon Samson’s return to

Gaza, the couple weds in the Temple of Venus and, much to Samson’s dismay, Dalila seeks

further reassurance of his love and allegiance to her by questioning the source of his strength,

which comes from his long hair. He first contemplates telling her, and then shares his secret, but

is immediately filled with regret and senses that God has left his side.

Voltaire’s libretto continues with the High Priest having witnessed a disturbance in the sky.

He finds Samson fallen and defeated. The Philistines capture Samson and imprison him. Dalila,

stunned by this turn of events, feels betrayed by her people and Venus for taking away her

husband; she curses the Philistines and demands the same punishment as Samson. The final act

in Voltaire’s libretto focuses on Samson as he grieves the loss of his strength, eyesight, and

freedom. The Hebrews accompany him in his grieving and inform him that Dalila has ended her

life.42 Subsequent to receiving the upsetting news, Samson is additionally tormented when the

Philistine force him to sit among them as they feast and celebrate their victory over him. When

the king taunts him one final time, Samson gathers the courage to avenge his people. He makes a

final request that the ruler send away the Hebrews from the sanctuary and, when refused, grabs

hold of the pillars that support the temple, using his strength to pull down the temple, ending the

42 Voltaire, Œuvres Complètes.

27

lives of everyone inside. The opera ends with Samson’s final victorious proclamation as the hero

of the Israelites.

28

CHAPTER 4: AN ANALYSIS OF THE TENOR ROLE SAMSON

“Samson has details of declamation, invention and cantilina.”43

- Giacomo Meyerbeer

The Tenor Arias of Samson The success of Gilbert Duprez’s career as a singer, through his distinct vocal abilities,

informed his compositional style. With the birth of Grand Opera and its achievement in the

French repertoire, the influence of his voice and other emerging forces in opera impacted the

growth of the genre for the tenor voice. His opera Samson encompasses a vast set of elements

that exploit the abilities Duprez exhibited so well in opera. Represented is a heroic picture of

triumph and defeat with tableaus created to portray the ancient story, the soaring vocal lines with

a full orchestra illuminate this Grand Opera style. This work deserves a place in the operatic

repertoire of today. This following chapter is the crux of this document as we analyze the vocal

writing in two scenas from Samson. These specific scenes feature the main character Samson,

who is given three robust and dramatic arias in this opera. We will look not only at the vocal

writing and the demands that are required of the lead tenor, but also look at the use of the

orchestra and how it supports the role of Samson musically.

43 translated, edited, and annotated by Robert Ignatius Letellier, The Diaries of Giacomo Meyerbeer (Madison,: Fairleigh Dickinson Univ Pr, 1999), 61.

29

General Vocal Characteristics

Compared to the vocal writing in other French Grand Opera, the writing style in Samson is in

a simpler form that emphasizes the language and dramatic expression of the work. This broke

away from the Italian tradition of bel canto singing with its extended and embellished vocal

lines. The range is expansive but does not lie in an extremely high tessitura for a considerable

amount of time. The character of Samson’s arias is expressive with lyrical melodic lines,

repeated text, and an assortment of lush harmonic textures.

Quel spectacle d’horreur! (Recitative and Aria) Scene III is comprised of a long period of solo singing for Samson, as is expected in opera.

While we do not know for certain that Duprez wrote the role for himself, considering that it was

premiered by another tenor, the singer for whom the role was written needed strong vocal

stamina and the ability to carry over a large orchestra. Samson represents strength, endurance,

and faith throughout the opera and this supports the demand needed for a fuller tenor sound.

Samson first appears in Scene III of Act I. He enters with the skin of a lion draped over his body.

The orchestra presented in the score calls for two flutes, two oboes, two clarinets, two trumpets,

two horns, two bassoons, four trombones, timpani, violins, violas, celli and bass. Duprez’s large

orchestra provides a thick texture producing dark, rich timbres, an element that his

contemporaries used in that followed suit to the French tradition of Grand Opera.

The opening recitative declaims Samson’s horror, “Quel spectacle d’horreur!,” as he

observes the Philistines worshiping their false idols. The short few bars of the recitative are

melodic with declamatory text, consisting of leaps of thirds and fifths. In recitative, the

impression is that the quality of sound is speech-like, thus, Duprez molds both a declamatory

style, while also making the quality of the recitative melodic and lyrical.

30

The vocal line begins to emerge from the depths with the start of the aria in measure 30. Duprez

prepares this aria by creating the drama from within the orchestra with syncopation and rhythmic

alteration in the strings in mm. 15–18. This increases the musical tension, and the assistance of

the brass and bassoon provide rich tonal colors through unresolved diminished chords in the

lower range of their instruments.

Figure 4.1. Act I, Scene III, mm. 27-30

Samson calls on his people to avenge their cause and avenge themselves, “Dieu des

combats…” (God of fights). The turbulent start of the scene drives forward, painting a grim, but

hopeful picture of Samson’s plea to his people. There are intimations of potential thematic

material at the beginning of the aria that continue throughout the scene. This initial leap of a

sixth is varied both rhythmically and harmonically throughout and depicts Samson musically.

(See figure 4.1.) In the following measures, the vocal line repeats this suggestive motivic

material. This ascending passage in m. 30 utilizes both instrumental and vocal power to support

31

the text well.

Duprez is specific about his choices with regard to textual emphasis and legato phrasing in

m. 32. He specifically marks accents over “regarde en ta feur” as though he is calling out for God

to listen to him. The recurring theme returns, this time modified slightly with dotted sixteenth

notes. The text is repeated, but with the alteration made to the vocal line, it adds more dramatic

depth as Samson continues to call for his people’s strength and courage.

Figure 4.2. Act I, Scene III, mm. 31-33

In m. 46, there is a martial rhythm introduced that helps maintain the intensity. Samson joins

the orchestra before ascending to the climax of the aria singing a [B4]. At this highest point of

the aria, Samson sings “venge-toi” (avenge yourself) as he leaps up to the upper part of the tenor

range. Duprez uses “toi” here which is an open [a] vowel that allows for optimal space and sound

Dieu des combats, regarde en ta fureur Les indigne rivaux que nos tyrans implorent. Soutiens mon zèle, inspire-moi; Venge ta cause, venge-toi.

God of fights, look in your fury The unworthy rivals whom our tyrants implore. Sustain my zeal, inspire me; Avenge your cause, avenge yourself.

32

in the mouth. Technically, the need for actually singing an aspirated “t” consonant is optional. It

is a choice for the singer since the note lies so high in the range; I would choose to replace it with

a “d.” This would become “doi,” which would not be perceived by the audience. With the many

other levels of sound and intensity, I would not imagine that any ear could tell the difference if

the original consonant had been replaced to allow for vocal accuracy in the top part of that range.

Another factor supporting Samson’s sound is the assistance of the orchestra. Figure

4.3 shows driving chromatic half-notes, the tremolo from the strings, and the long, sustained

notes keep the energy moving forward for the singer.

33

Figure 4.3. Act I, Scene III, mm. 53-57

This continues with repetition until an interjection from the High Priest. In m. 72, he and

Samson quarrel over the captured Israelites through accompanied recitative. The sounds of

turmoil are heard through unstable resolutions and chromatic alterations through mm. 82-

102. Samson has one more proclamation to make with a recitative before entering into the finale

of Act I. The final cadence resolves into the first chord of the finale.

34

Peuple, éveille-toi (Aria) The finale of Act I is robust, lush, and exciting. In C major, the rhythm and style are martial

and prove to be a fine example of a finale to an act, as it includes all of the orchestral forces

(winds, brass and strings). The cascading, chromatic triplets from the viola compete with the solo

vocal line’s dotted march rhythm. (See figure 4.4 below.)

Figure 4.4. Act I, Scene III, mm. 7-12

This aria, up a half step from the previous number, is full of intensity and vigor. The form is

modified strophic with a choral interlude. The introduction includes a trumpet fanfare with the

strings featured predominantly before Samson’s entrance in bar 7. He enters with a soaring

melody as the strings create an almost hammer-like effect with strong, quarter note emphasis on

beats two and four. This alludes to the call Samson makes for his people to “break their irons and

chains” as they have been working and enslaved to the Philistines. This finale to Act I is

35

reminiscent of the sound and style of the famous “Anvil Chorus” from Verdi’s Il Trovatore

which was premiered in 1853.

The tessitura for Samson sits higher in this aria as the voice lies around [E4], which is the

secondo passaggio for the tenor voice. This range of the voice begins to use a mixture of both

chest and head voice to keep the voice in a free sounding state and to provide ease into the upper

range. Duprez utilizes all the forces of the orchestra to support Samson.

Sustained notes sung by Samson are often supported with driving rhythms and tremolos from

various instruments. As mentioned before, this is beneficial for a singer, especially in a highly

dramatic or exciting scene such as this one.

Duprez showcases the tenor’s sensational high C [C5] in this aria. It is first featured alone with

no accompaniment as shown in figure 4.5 on the next page.

Peuple, éveille-toi, romps tes fers, People, wake up, break your chains, go Remonte à ta grandeur première, back to your greatness, Comme un jour Dieu du haut des airs as one day God from the heavens will Rappellera les morts à la lumière remind the dead in the light Du sein de la poussière, of the bosom in the dust, Et ranimera l'univers. and revive the universe. Peuple, éveille-toi, romps tes fers, People, wake up, break your chains, La liberté t'appelle; Freedom calls you; Tu naquis pour elle; You were born for her; Reprends tes concerts. Resume your concerts. Peuple, éveille-toi, romps tes fers! People, wake up, break your irons!

36

Figure 4.5. Act I, Scene III, mm. 27-35

It is interesting that Duprez chose to write this particular measure the way he did, as if he

were highlighting the voice to draw even further attention to the high C [C5] that had impacted

his career so positively. After a brief chorus interjection in bars 36-58, Samson enters again with

the original melodic material from the beginning of the aria. Once he reintroduces the melody,

the chorus joins him, and by this point, both the chorus and the entire orchestra are now a part of

this Act I finale. Samson and the chorus sing different material. As the end of the finale is

nearing, shown in figure 4.6, his final attempt at the high C [C5] brings Act I to a close.

37

Figure 4.6. Act I, Scene III, mm. 109-117

The choice of text in measure 116 is the same as heard before in the aria “fers,” with a closed [e]

on the high note, approaching it by leap of a seventh. Both words “tes” and “fers” contain a

closed [e] position, which means minimal alterations, other than

38

slightly more space for the singer on the higher pitch, which helps the singer to achieve success

on the final note sung in the aria.

Le Dieu des Combats (Recitative) This accompanied recitative begins with a motive played by the clarinets that was heard

previously in Samson’s introduction. This orchestral introduction is filled with turbulence and

unsettled resolutions as this motivic material is passed among the wind instruments and later to

the low strings This lengthy instrumental introduction spans the first 28 measures before

Samson’s entrance in m. 29. The opening recitative is written in a declamatory style. The text is

syllabic and the range is expansive extending from [F3] to [Ab5].

Le Dieu des combats m'a conduit Au milieu du carnage; Devant lui tout tremble et tout fuit. Le tonnerre, l'affreux orage, Dans tous les champs font moins de ravage Que son nom seul n'en a produit Chez le Philistin plein de rage. Tous ceux qui voulaient arrêter Ce fier torrent dans son passage N'ont fait que l'irriter: Ils sont tombés; la mort est leur partage.

God of battles led me Into the midst of carnage; In front of him all tremble and everything flees. The thunder, the dreadful storm, make everywhere less havoc than his name alone has been made known. The Philistine full of rage. Anyone who wanted to stop This proud torrent in its passage Only irritated him: They fell; death is their share.

39

Figure 4.7, Act II, Scene II, mm. 34-39

Here the text is predominately syllabic, as one would expect in recitative because of its speech- like

character. As shown in figure 4.7, Samson proclaims he has been led into the depths of turmoil, or into

the midst of carnage, as he outlines an A minor arpeggio in mm. 35-37. This passage here ascends to [A4]

on “fuit,”a difficult passage in the recitative, but declamatory, evoking a heroic sound. The orchestra

supports the voice and adds to the drama by emphasizing the offbeats as the tenor voice ascends upward

to the [A4].

40

Ces sons Harmonieux (Cantabile)

I categorize this section as a recit et cantabile, a term associated with the Italian opera form

including a recitative and slow-moving song.44 Indeed, this section not only provides a smooth,

lyrical display of singing from Samson, but there is also a solo violin that carries equal weight to

the vocal solo line. The aria begins with a lyrical, instrumental prelude featuring the violin in a

virtuosic passage from the lower extremities of its range to the high. This prelude, heard by

Samson, functions as thematic material for the aria while bringing Samson to sing of the sweet

harmonious sound, “Ces sons harmonieux.” It provides the imagery of the moving water (“ces

murmurs des eaux”) as Samson rests.

This aria is one of the more embellished arias vocally and begins in m. 38 with the turn- like

figures. This remains a repetitive device and is heard again a few bars later. In figure 4.8, the

vowel for this word is a closed [u] that helps the singer keep the larynx stable, and low, and the

throat open to master the octave leap.

44 David Fallows, “Cantabile,” Oxford Music Online, 2001.

41

Figure 4.8, Act II, Scene II, mm. 38-42

It is apparent that Duprez makes a choice to set closed vowels on the high notes in this aria.

This particular decision is beneficial for the tenor as this helps in keeping the larynx in a free

position to sing with a full, resonant sound. This is apparent in m. 67 as the aria builds into its

climax, taking Samson into the highest range thus far. In m. 66 he begins the musical buildup by

increasing the orchestral forces to provide support to Samson’s upper range. The sustained [G5]

in mm. 67–68 and its return a few bars later are supported by the growth of the orchestra

underneath. As the melodic line continues, the driving energy in the rhythms from the orchestra

provide the support needed for Samson to blossom into the high note heard in m.72. Reaching

the climax, rather than keeping the tenor on [o] of “repos,” Duprez changes the text to an [a]

vowel shown in figure 4.9.

42

Figure 4.9, Act II, Scene II, mm. 64-67

Because he was a tenor, it is possible that he changed the vowel here so that the voice would

not draw back and swallow the sound, collapsing the space on the closed vowel of “repos.”

However, it could merely be just an expression of personal grief or a personal choice of dramatic

expression. He repeats this gesture again as the tenor leaps up to the extremes of the range

singing on an [a] vowel as shown in figure 4.10.

43

Figure 4.10, Act II, Scene II, mm. 68-71

This effect suggests, shown in figure 4.10, that Samson is crying out for peace and rest not only

for him, but for his people. His final ascent to the high note is drawn out with chromatic half-

steps and a turn figure to embellish the half-cadence before Fate draws near. The aria concludes

with a time signature change to 4/4 and a tonal shift from E major to E minor. There are hints of

a recurring theme that can possibly be interpreted as representation of Samson’s fate.

44

CONCLUSION

Gilbert Duprez’s opera Samson is a strong example of French Grand Opera. This opera,

although incomplete, shows many traits of Grand Opera such as the biblical, historical plot along

with the call for a large chorus and orchestra, and the use of visual spectacle. This work

stimulates further interest in Duprez’s other operatic works. Gilbert Duprez used his knowledge

from his own experience as a successful singer and his cognizance of the works of his

contemporaries to further develop the French Grand Opera style. In Samson he was able to create

a work that deserves performance and exploration by opera performance groups, as well as by

researchers and scholars. Duprez’s contributions to the development of the vocal style and

technique of the tenor voice continue to prove their worth and his works may provide a direction

for continued growth in operatic repertoire.

45

REFERENCES Abbate, Carolyn and Roger Parker. A History of Opera. New York: W. W. Norton and Company, 2012. Armstrong, Alan. “Gilbert-Louis Duprez and Gustave Roger in the composition of Meyerbeer’s Le prophète.” Cambridge Opera Journal 8, no. 2: 147-165. Berlioz, Hector, and Samuel N. Rosenberg. Opera: William Tell; Debut of Duprez. Collected Work: Berlioz on Music: Selected Criticism, 1824-1837. Published by: New York, NY, U.S.A.: Oxford University Press, 2015. Pages: 263-269. Bloch, Gregory W. “The Pathological Voice of Gilbert-Louis Duprez,” Cambridge Opera Journal 19, no. 1: 11-31. 2007. Boldry, Richard. Guide to Operatic Roles & Arias. Dallas: Psst...Inc, 1994. Celletti, Rodolfo. A History of Bel Canto. Translated by Frederick Fuller. Oxford: Clarendon Press, 1991. Corti, Sandro. "Gilbert Duprez." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08364 Crosten, William L. French Grand Opera. New York: King's Crown Pr, 1948. Duprez, G., Dumas, A., Duprez, E., Voltaire. Samson: G[ran]d opé ra de Voltaire, Houghton Library, Harvard University. 1837. Duprez, G. Souvenirs d'un chanteur. Paris: Calmann Lévy, 1880.

Duprez, Gilbert. Récréations de mon grand âge. Paris: Marpon et Flammarion, 1888.

Everist, Mark. Music Drama at the Paris Odé on, 1824–1828. Berkeley: University of California Press, 2002. Fallows, David, et al. "Tenor." Grove Music Online. Oxford Music Online, Oxford University Press, 2019. http://www.oxfordmusiconline.com/subscriber/article/grove/music/27667

46

Fallows, David. "Cantabile." Grove Music Online. Oxford Music Online. Oxford University Press, accessed January 13, 2019. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001. 0001/omo-9781561592630-e-0000004746. Giroud, Vincent. French Opera: A Short History. Yale University Press 2010. Hibberd, Sarah. “Grand Operas for Paris.” In Grand Opera. Edited by David Charlton, 149–167. Cambridge: Cambridge University Press, 2003. Krebbiel, Henry Edward. A Second Book of Operas. New York: MacMillan, 1940. Lacombe, Hervé. The Keys to French Opera in the Nineteenth Century. Berkeley: Univ. of California Press, 2001. Letellier, Robert Ignatius translated, edited, and annotated. The Diaries of Giacomo Meyerbeer. Madison,: Fairleigh Dickinson University Press, 1999. Marek, Dan H. Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique. Lanham: Scarecrow Press, 2013. Osborne, Charles. The Bel Canto Operas of Rossini, Donizetti, and Bellini. Portland, Or: Amadeus Press, 1994. Osborne, Richard. Rossini. London: Oxford University Press, 1986. Patrick, Barbier. Opera in Paris, 1800-1850. Milwaukee, WI: Hal Leonard Corporation, 1995.

Plantinga, Leon. Romantic Music. ed. New York: W. W. Norton and Company, 1984.

Pistone, Daniè le. Nineteenth-Century Italian Opera from Rossini to Puccini. Portland, Or: Amadeus Press, 1995. Radomski, James and Manuel García. Chronicle of the Life of a Bel Canto Tenor at the Dawn of Romanticism. New York: Oxford University Press, 2000. Rosselli, John. Singers of Italian Opera. Cambridge: Cambridge Univ. Press, 2000. Smith, Micheal Lee, Jr."Adolphe Nourrit, Gilbert Duprez, and the High C: The Influences of Operatic Plots, Culture, Language, Theater Design, and Growth of Orchestral Forces on the Development of the Operatic Tenor Vocal Production." D.M.A. Document, University of Nevada, Las Vegas, 2011.

47

Vest, Jason Christopher. "Adolphe Nourrit, Gilbert-Louis Duprez, and Transformations of Tenor Technique in the Early Nineteenth Century: Historical and Physiological Considerations." D.M.A. Document, University of Kentucky, 2009. Voltaire. Œuvres completes de Voltaire. Vol 3 of Théâtre. Paris: Garnier Frères, 1877. 125 Walton, Benhamin, 2003. “Looking for the revolution in Rossini’s Guillaume Tell.” Cambridge Opera Journal 15, no. 2: 127-151. 2003.

48

APPENDIX A CAST OF CHARACTERS

Character Voice Type

Samson Tenor

Dalila Mezzo-Soprano

Le Roi des Philistines Bass

Le Grand-Prêtre Bass-Baritone

Les choeur des Hebreux et Les Israelites SATB

Coryphée Soprano and Mezzo-Soprano

49

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Oboe

Clarinet in A

Trumpet in E

French Horn in E

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Cello

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f

q = 110

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cresc.

f mf f mf

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f mf f mf

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q = 110

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Act I, scene III

"Quel spetacle d'horreur"

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jœ œb œ œbJœn œ œ œb

jœ ‰ ŒJœ

jœ ‰ ŒJœ

∑

œŸœn œ .œ œ œ œ œ œ

∑

∑

∑

∑

dim.

rit.

œ œU

œ œ

˙˙

U

œ œ œœ œ œ

U

∑

œ œ# œ œn .œ œU

∑

∑

∑

∑

Act II, Cantabile"Ces son harmonieux"

∑

∑

109109

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

5

∑

∑

˙̇

˙̇

5

˙˙

5

∑

5

œ .œ œ>

∑

∑

∑

∑

Andante espressivo

p

p

p

p

∑

∑

.œ ‰.œ

.œ‰.œ

.œ ‰

.œ

∑

.œ jœ

∑

∑

∑

∑

∑

∑

.œ jœ#.œ Jœ>

˙̇

∑

∑

.œT

.œ œ

∑

∑

∑

∑

cresc.

‰.œ œ œ

‰ .œ œ œ

jœ .œJœ

.œ

jœ .œ œ œ

Jœ.œ œ œ

. .œ œ œ. .œ œ œ

∑

Jœ.œ œ jœ ‰

∑

∑

∑

∑

1st

p

p

∑

˙˙

˙̇

˙#Œ œ

>

˙Œ œ

>

∑

.œT .œ œ

∑

∑

∑

∑

π

∑

˙˙

˙̇

˙Œ œ

>

˙Œ œ

>

∑

œJœ .œ œ#

∑

∑

∑

∑

∑

Œ ‰ jœ#Jœ

œ œ# œ œœ œ# œ

.œ jœŒ ‰ Jœ

>

Œ ‰jœ#

Jœ>

>

∑

.œ œ œ œ œ .œ œ

∑

∑

∑

∑

p

∑

˙̇

˙̇

˙˙

˙̇

∑

jœ ˙

∑

∑

∑

∑

110110

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

13

∑

∑

∑

˙̇

13

˙>

13

∑

13

jœ œ œ œ.œ œ3

∑

∑

∑

∑

∑

∑

∑

œ Œœ

jœ ‰‰ œ œ œ œ

3

∑

Jœ œ œ œ œ

3

∑

∑

∑

∑

˙

˙̇

∑

∑

∑

∑

Jœ œ œ œ .œ œ

3

∑

∑

∑

∑

œ Œ

œ Œœ

‰ œ œ œ œ

3

∑

∑

∑

Jœ œ œ œ œ

3

∑

∑

∑

∑

π

Jœ> œ œ ≈ ‰ ≈

œ œn

3 3

‰ ≈ œ œ# . œ. œ. œ. œ œ. œ.

3 3 3

œ œ>

>‰ Œ

3

œ œ3

œ œ œ# .œ

3

∑

∑

Jœ œ œ œ œ œ. œ. œ. œ. œ.

3 3 3

∑

∑

∑

∑

a2

Jœ ‰ œ

Jœ ‰ Œ

‰ œ œ œ# œ3

∑

œ œ œ œ œ. œ# . œ3

3

∑

Jœ œ œ œ œ œ œ

3

∑

∑

∑

∑

a2

111111

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

19

Œ ‰ Jœ>

œ# œ œ œ>

>œ œ œ œ

‰ œ œ œ

>Œ ‰ Jœ

.œ jœ.œJœ>

>

19 jœ œ jœ>

˙

19

∑

19

≈œn œ

≈œ œ

≈ œ œ œ œ œ3 3 3 3

∑

∑

∑

∑

p

p

p

Jœ

‰ Œ

jœ ‰ ŒJœ

jœ œ œ œJœ

œ œ œ

jœ ‰ ŒJœ

jœ ‰ ŒJœ

∑

Jœœ œ# œ œ œ‹ œ œ œ# œ

3 3 3

∑

∑

∑

∑

π

Œœ>

Œ ‰ jœJœ

œ œ œ# œœ œ œn œ#

Œ ‰jœ

Jœ B

Œ ‰jœ

Jœ

∑

œ œ œ œ œ# œ œ

3 3

∑

∑

∑

∑

p

˙

˙Jœ ‰ Œ

jœ ‰ ŒJœ

œ œ œ œ

˙˙

∑

˙

∑

∑

∑

∑

∑

Œ œœ

˙̇

˙

œ œœ œ?

∑

œ

Œ

∑

∑

∑

∑

U̇

˙U˙

˙U˙

U̇?

˙U

˙&

∑

∑

∑

∑

∑

∑

112112

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

25

∑

∑

∑

∑

25

∑

25

Œ ‰ JœCes

25

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œRœ R

œ Rœ R

œ

sons har mo

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

˙nieaux,

∑

œ .œ œ

˙

˙̇

˙

π

p

Div.

p

p

∑

∑

∑

∑

∑

Œ .Jœ Rœ

ces mur

∑

œ Œ

œ Œ

œ Œœ

œ Œ

∑

∑

∑

∑

∑

œ œ œ œ œ œRœ

3 3mu res des

∑

˙

œ œ

˙

˙

1st

∑

∑

∑

∑

∑

œ Œeaux,

∑

jœ ‰ .œ œ#

jœœ‰ Œ

jœ ‰ œ

Jœ ‰ Œ

∑

∑

∑

∑

∑

‰ Jœ Rœ

Rœ R

œ Rœ

Sem blent a mol

∑

œ Œ

œ Œ

œ Œ

∑

p

- - - - - --

113113

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

32

∑

∑

∑

∑

32

∑

32

Jœ Jœ œ œ œ .rœ

rKœ#

3lir mon cou

32

∑

Jœ ‰ œ

jœ ‰œ

jœ‰

œ#Œ œ

Œ œ

p

p

F

F

F

F

∑

∑

∑

∑

∑

Jœ Jœ œra ge.

∑

jœ ‰ Œ

jœ‰ Œ

jœœ jœ#

Jœœ

Jœ‹

˙

p

∑

∑

∑

∑

∑

Œ ‰ .Rœa

∑

∑

∑

œn œ# œ œœ# œ# œ œ

˙

∑

∑

∑

.œ jœ#˙

˙̇

.Jœ R

œ .Jœ Rœ

si le de la

∑

.œ jœ

.œ jœ.œJœ#

≈ œ œ œ# œ œ jœ ‰3 3

.œ Jœ

p

p

p

Div.

p

p

p

a2

∑

∑

∑

˙̇

˙̇

˙paix,

∑

.œ jœ

.œ jœ.œ Jœ

≈ œ œ œ# œ œJœ ‰

3

3

.œ Jœ

∑

∑

∑

˙̇

˙̇

.œT

.Rœ

RԜ

lieux char

∑

.œ jœœ

.œ jœ.œJœ

≈ œ# œ œn œ œJœ ‰

3

3

.œ Jœ

- - - - -

114114

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

38

‰.œ œ œ

‰ .œ œ œ

∑

.œ œ œ œ˙

38 .œ œ œ œ.œ œ œ œ

38

œ Œmants,

38

∑

jœ ‰ ‰ jœœ>

jœ ‰ ‰ jœJœ Jœ

≈ œ œ œ# œ œ Jœ ‰33

.œ Jœ

p

p

1st

1st

cresc.

cresc.

∑

∑

˙

˙̇#

˙˙

.œT .R

œRÔœ

doux om

∑

.œ jœ

.œ jœ.œ Jœ

≈ œ œ œ œ# œJœ ‰

3

3

.œ# jœ

1st

∑

œJœ ‰

˙

˙̇

˙̇

œJœ .œ œ#

bra ge, vous

∑

.œ jœ

.œ jœ.œ Jœ

≈ œ œ œ œ œJœ ‰

3

3

.œ jœ

‰œ œ œ œ

Œ ‰jœ

Jœ

‰ œ œ# jœJœ

œ œ# Jœn

jœ ‰ ‰jœ

Jœ Jœ

.œjœ.œ Jœ

.Rœ RÔ

œ œ .Rœ rK

œ#m'in vi tez au re

∑

jœ ‰ ‰ jœ#

jœ ‰ ‰ jœJœ Jœ

jœ ‰ ‰ jœ‰ Jœ

Jœ ‰ ‰ Jœ

p

p

p

p

p

p

p

p

Div.

∑

jœ ‰ ŒJœ

jœ ‰ ŒJœ

jœ ‰ ŒJœ

jœ .œ œ œ œJœ .œ œ œ œ

œ ‰ .Rœ

pos. ces

∑

œ Œ

œ Œœ

œ Œœ

œ Œ

- - - - -

115115

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

43

∑

Jœ œ œ œ œ œ

3

œn œœ œ

∑

43

œ# œJœ .œ œ œ œ

43

œ Jœ Rœ

Rœ

Rœ

3sons har mo nieux,

43

∑

∑

∑

∑

∑

p

p

∑

Jœ œ œ œ Jœ œ œ œ3 3

œ œœ œ œ œ œ3

∑

œ œœ .œ œ œ œ

Jœ œ .Rœ RÔ

œ

ces mur

∑

∑

∑

∑

∑

Jœ> œ œ œ

Jœ> œ œ œ

3 3

Jœ> œ œ œ Jœ œ. œ. œ

3 3

jœbr

œ ≈ ≈jœ

rœ ≈ ≈

3 3

Jœ Rœ

Jœ Rœ

3 3

œ œ œ œn œ. œ. œ œ œ œ œ. œn .

3 3 3 3

œjœ œ œ œ#

3

œJœ R

œ ≈ ≈3

Jœ Rœ

Rœ R

œ Jœ Rœ

Rœ

Rœ

3 3mu res ces mur mu res des

∑

∑

∑

∑

∑

f f

f

a2

Jœ ‰ Œ

Jœ ‰ Œ

œ.œ œ œ œœ .œ œ œ œ

jœ œ jœJœ œ Jœ

jœ ‰ ŒJœ

œ Œeaux,

∑

‰.œ œ œ œ

‰.œ œ œ œ

∑

˙

F

pizz.

pizz. a2

p

- - - - - -

116116

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

47 .œ œ œ œ

3

.œ œ œ œ3

œ œœ œ

œ .œ œ œ œœ .œ œ œ œ

47jœ œ œ œ œ œ

3

œ# œ

47

œ Jœœ œ

Rœ

3sem blent a mol

47

∑

≈ œn œ ≈ œ œ≈ œ

œ≈ œ œ

3 3 3 3

‰.œ œ œ œ

œ# œ œ œ

˙

cresc.

arco

π

a2legato

Jœ œ œ œ œ

3

Jœ œ œ œ œ3

œ œœ œ

œ .œ œ œ œœ .œ œ œ œ

jœ œ œ œ œ œ3

œ œ

Jœ œ .Rœ RÔ

œ

lir mon cou

∑

≈ œ œ ≈ œœ

≈ œœ

≈ œ œ

3 3 3 3

‰.œ œ œ œ

œ œ œ œ

˙

Jœ>

Rœ

≈ ≈ Jœ>

Rœ

≈ ≈3 3

Jœ>

Rœ ≈ ≈ Jœ

>Rœ ≈ ≈

3 3

Jœb >Rœ ≈ ≈ Jœ

>Rœ ≈ ≈

3 3

œ œ œ œn œ. œ. œ œ œ œ œ. œn .

3 3 3 3

Jœ Rœ ≈ ≈ Jœ R

œ ≈ ≈3 3

Jœ Rœ

Rœ R

œ Jœ œ œ œ œ œ3 3

ra ge. mon cou ra

∑

Jœ> œ œ œ Jœ

> œ œ œ3 3

jœn>

œ œ œ jœ>

>

œ œ œ#3 3

Jœ>> R

œ ≈ ≈ Jœ Rœ ≈ ≈

3 3

œ œ œ œn œ œ œ œ œ œ œ œn3 3 3

3

œ œ œ œn œ œ œ œ œ œ œ œn

3 3 3 3

a2

arcoDiv.

1st

- - - - - - -

117117

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

50 ˙̇

˙̇

˙̇

˙˙

50

˙̇

50

˙ge.

50

jœ œ œ œ œ# œ œ œ œ œ œ œ

Jœ>

.œ œ œ œ

jœ>

>.œ œ œ œJœ

jœ>

>.œ œ œ œJœ

jœ.œ œ œ œ˙

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

Div.1st

Div.

˙̇#

˙̇#

˙̇#

˙˙

˙˙

∑

Jœ œ

œ. œ. œ# . œ. œ. œ. œ. œ.

33

3

Jœ .œ œ œ œ

jœ#.œ œ œ œJœ

Jœ .œ œ œ œ

jœ.œ œ œ œ˙

jœ‰ ŒJœ

jœ ‰ ŒJœn

jœ ‰ ŒJœn

jœ ‰ ŒJœ

jœ ‰ ŒJœ

∑

œŸœn œ .œ œ œ œ œ œ

Jœ ‰ Œ

jœn ‰ ŒJœ

jœœn œ œ#

Jœœ œ œn

jœ ‰ ŒJœ

F

F

F

F

π

∑

∑

˙U˙

˙U

˙

œ œ œU

œ œ œ

Œ ‰ .URœa

œ œ# .œ œ œ œU

∑

∑

˙nU˙

˙U˙

1st

II II

-

118118

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

54 œ œ œ œ

∑

∑

.œ jœ#.œ Jœ

54 .œ jœ.œ Jœ

54

.Jœ R

œ .Jœ Rœ

si le de la

54

œ .œ œ

‰ jœ ‰ jœJœ Jœ

‰ jœ‰ jœ#

≈ œ œ œ# œ œ jœ ‰3 3

‰ jœ ‰ jœ.œ Jœ

Div. pizz.

pizz.

a2

1st pizz 2nd arco

˙

∑

∑

.œ jœ.œ Jœ

.œ jœ.œ Jœ

˙paix,

.œ jœ

‰ jœ ‰ jœJœ Jœ

‰ jœ‰ jœ

≈ œ œ œ# œ œJœ ‰

3

3

‰ jœ ‰ jœ.œ Jœ

.œT .œ œ

∑

.œ jœ.œ Jœ

.œ jœ.œ Jœ

.œ jœ.œ Jœ

.œ .œ œlieux char

œŸ

œ .œ œ

‰ jœ ‰ jœJœ Jœ

‰ jœ ‰ jœœJœ

≈ œ# œ œn œ œJœ ‰

3

3

‰ jœ ‰ jœ.œ Jœ

œ .œ œ œ

‰ .œ œ œ

œ .œ œ œœ .œ œ œ

œ .œ œjœ jœ.œ Jœ

œ .œ œ jœ jœœ .œ œJœ Jœ

.œ ‰mants,

œ .œ œ jœ ‰

‰ jœ ‰ jœJœ Jœ

‰ jœ ‰ jœJœ Jœ

≈ œ œ œ# œ œ Jœ ‰3

3

‰ jœ ‰ jœ.œ Jœ

cresc.

1st

cresc.

cresc.

cresc.

cresc.

∑

˙

.œ Jœ

.œ jœ

.œ# Jœ

.œ jœ.œ Jœ

.œT .R

œRÔœ

doux om

.œT .œ œ

‰ jœ ‰ jœ

‰ jœ ‰ jœJœ Jœ

≈ œ œ œ œ# œJœ ‰

3

3

‰ jœ ‰ jœ.œ# Jœ

2nd

- - -

119119

&

&

&

?

&

&

&

&

&

B

?

# # # #

# # # #

#

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

# # # #

Fl. 1 2

Ob. 1 2

A Cl. 1 2

Bsn. 1 2

Hn. 1 2

Samson

Solo Vln.

Vln. I

Vln. II

Vla.

D.B.

59

Œ ‰ .œ œ#

.œ ‰

.œ Jœ

.œ jœ.œ Jœ

59 .œ jœ.œ Jœ

59 œJœ .œ œ#

bra ge, vous

59 œJœ .œ œ#

‰ jœ ‰ jœ

‰ jœ ‰ jœJœ Jœ

≈ œ œ œ œ œJœ ‰

3

3

‰ jœ ‰ jœ.œ Jœ

.œ œ œT> .œ œ

∑

.œ jœ

.œ Jœ

.œ jœ‹.œ Jœ

œ jœ ‰œ œ# œ

.Rœ RÔ

œ œ .Rœ

RԜ

m'in vi tez au re

.œ œ œT .œ œ

‰ œ œ# jœ‹Jœ

‰ œ jœnJœ

.œ jœœ‹

.œ jœ.œ Jœ

arco

arco pizz.

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