Live from ROH 1985. Giordano's Andrea Chenier is one of the greatest of verismo operas, full of heart-stopping big tunes and powerful emotional situations. If it is not as well-known as it should be, it is because in summary it sounds a little too like Puccini's Tosca: there is a tussle between political opponents over a woman, an attempt to save a condemned man, a tenor aria about writing poetry on the eve of execution. The difference is that Gerard (Giorgio Zancanaro) is not a villain like Scarpia, he is an idealist whom the French Revolution has betrayed as much as it has his rival the poet Chenier (Placido Domingo). His temptation to abuse his power to seduce the virtuous Maddalena (Anna Tomowa-Sintow) is a momentary one, though its consequences are terrible. There is a streak of post-Wagnerian decadence in much of this--Maddalena is at least as much in love with death as she is with Chenier, and the final love duet has a deeply sinister aspect. -- From Amazon.co.uk

While the rest of the Hebrews bewail their fate, Samson alone trusts in God's promise of liberty. Abimelech, the Philistine satrap of Gaza, enters to mock the Hebrews' God, proclaiming the superiority of Dagon, and the Hebrews are afraid of him. But calls them to show some defiance, so Abimelech attacks Samson with his sword. Samson seizes the sword and strikes him dead. The Hebrews scatter and the High Priest of Dagon appears, cursing the Hebrews. When a messenger reports that the Hebrews are ravaging the harvest, the High Priest forms a plan to use Delilah to overcome Samson's strength. Delilah's beauty is such that Samson can't resist her for long. She begs to know the secret of his supernatural strength, but he refuses, though he says he loves her. Delilah betrays Samson by having some Philistine soldiers seize him and throw him into a prison in Gaza, where his hair is cut off.