‘Mon cœur s’ouvre à ta voix’ (‘My heart opens at the sound of your voice’) sings Dalila in the famous middle movement of her duet with Samson in Act II of Saint-Saëns’s Samson et Dalila (1877), though it is Dalila’s voice that we focus on for most of the movement, and her voice, and not so much her heart, that opens. Over an eerily divisi string figure, that voice initially ascends, stepwise, with the strings rising and falling around it (Ex. 1). In the refrain it then descends, langorously and partly chromatically, the length of a minor ninth (Ex. 2), only to ascend again in a trio of closing phrases that each begin with a leap of a seventh as Dalila asks Samson no longer for his voice but for ‘ivresse’ (ecstasy, intoxication, intense pleasure). In response, we finally get to hear from the Hebrew ‘muscleman’ (the word is Kevin Kopelson’s), with what Kopelson has described as an infantile-sounding ‘Je t’aime!’, a phrase that Samson has already used twice within the duet. This utterance also forms part of a ghostly duetwithin-a-duet, for Samson’s ‘Je t’aime!’ is sung in countermelody with a solo clarinet, one that repeats, molto espressivo, Dalila’s final phrase. Commentators have long debated the sincerity of ‘Mon cœur’, or rather how Dalila’s expression in the movement can be so exquisite and seemingly heartfelt while she is at the same time engaged in an act of hate-fuelled manipulation. (As is well known, Dalila’s aim in the movement, as in the duet as a whole, is to get Samson to give up the secret of his powers, an aim she describes in the scene that precedes the duet in terms of ‘vengeance’ and ‘hatred’–though also in terms of ‘love’.) The debate has been inspired not only by the beauty of ‘Mon cœur’ itself, but also by the way the movement reuses material, and is itself musically reused, in other parts of the opera. The first of these reuses involves the accompaniment to the second strophe, a descending chromatic sextuplet figure for winds (Ex. 3). This figure has already been heard earlier in the act, in two passages of orchestral tone-painting that precede and follow Dalila’s expression of her hatred, and its reappearance in ‘Mon cœur’ has been seen as a sign that the heroine’s sentiment here is no more than

中文翻译：

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《圣桑的声音，心灵和鬼魂》，《达蒙·达·达·沃伊》（达里拉），萨姆森与达利拉，第二幕

达利拉（Dalila）在圣桑斯《萨姆森及达利拉（Samson et Dalila）（1877年）》第二幕中与萨姆森（Samson）的著名二重奏中歌唱着“ Moncœurs'ouvreàvoix”（“我的心随你的声音而张开”）。我们大部分时间都将注意力集中在达利拉（Dalila）的声音上，而她的声音（而不是她的内心）打开了。在一个怪异的弦乐器上，声音开始逐步上升，弦乐围绕它升起和落下（示例1）。然后在副歌中，它以较小的九分之一的长度（部分2色）逐渐变色，然后以三段封闭的短语再次上升，每段以七分之首开始，达利拉要求萨姆森不再他的声音只是为了“狂喜”（狂喜，陶醉，强烈的愉悦）。作为回应，我们终于听到了希伯来语“肌肉男”（这个词是凯文·科佩尔森的意思），与Kopelson所说的听起来像是婴儿的“ Je t'aime！”一样，Samson在二重唱中已经使用了两次。对于Samson的“ Je t'aime！”，这种话语也构成了二重奏中鬼混音的一部分。是用单簧管唱的，这是达利拉的最后一句话。评论员们长期以来一直在争论“ Moncœur”的诚意，或者说达利拉在运动中的表达如何如此精致而貌似发自内心，同时她又在进行仇恨操纵。（众所周知，达利拉在运动中的目标与整个二重奏一样，是为了让参孙放弃他的力量秘诀，她在场景中用``复仇''描述了这一目标。和“仇恨”-尽管也有“爱”的意思。）这场辩论的灵感不仅来自“ Moncœur”本身的美，还在于机芯在歌剧其他部分重用材料的方式以及本身在音乐上的重用方式。这些重用中的第一个涉及第二个旋律的伴奏，第二个旋律是风的彩色六边形降序图形（例3）。该人物早些时候已经在演出中听到过，在达利拉表达仇恨之前和之后的两段管弦乐音调画作中都出现过，而且它再次出现在“ Moncœur”中被视为标志着此处女主角的情绪不高。多于 风的彩色六重降序图（示例3）。该人物早些时候已经在演出中听到过，在达利拉表达仇恨之前和之后的两段管弦乐音调画作中都出现过，而且它再次出现在“ Moncœur”中被视为标志着此处女主角的情绪不高。多于 风的彩色六重降序图（示例3）。该人物早些时候已经在演出中听到过，在达利拉表达仇恨之前和之后的两段管弦乐音调画作中都出现过，而且它再次出现在“ Moncœur”中被视为标志着此处女主角的情绪不高。多于