| Rameau, Jean-Philippe (1683-1764) | Samson |
| Raphaël Pichon | Direction | |
| Claus Guth | Mise en scène | |
| Étienne Pluss | Décors | |
| Ursula Kudrna | Costumes | |
| Bertrand Couderc | Lumières | |
| Ensemble Pygmalion | ||
| Mathis Nitschke | Son | |
| rocafilm | Vidéaste | |
| Yvonne Gebauer | Dramaturgie | |
| Sommer Ulrickson | Chorégraphie | |
| Jarrett Ott | Baryton | Samson |
| Jacquelyn Stucker | Soprano | Dalila |
| Lea Desandre | Mezzo-soprano | Timna |
| Nahuel Di Pierro | Baryton-basse | Achisch |
| Laurence Kilsby | Ténor | Elon |
| Julie Roset | Soprano | L'Ange |
| Antonin Rondepierre | Ténor | Un convive |
| Andréa Ferréol | Comédien | La mère de Samson |
When, in 1733, Voltaire, the most brilliant mind of his day, collaborates with Rameau, its greatest composer, in undertaking an ambitious reform of operatic practice, the result is the biblical opera Samson. But the libretto is condemned and the score lost – possibly reworked here and there in later compositions. Claus Guth and Raphaël Pichon, haunted by this interesting project that had turned into one of the most intriguing failures in operatic history, have tried, not to recreate the letter, but to revive the spirit: to marry a strong, noble libretto with the most eloquent music. Samson is the chosen of God, but his extraordinary strength isolates him as much as it marks him out: a succession of failed love affairs turns him into a destructive force, making this biblical Hercules the first suicidal to be a mass murderer. Supporting Jarrett Ott, Jacquelyn Stucker and Lea Desandre in the principal roles, the Pygmalion chorus and orchestra become important actors in a fresco that is both sublime and astonishingly modern.