David

David is a Biblical opera in five acts and twelve scenes by composer Darius Milhaud. The opera uses a Hebrew language libretto by Armand Lunel which is based on the Books of Samuel. The work was commissioned with funds provided by conductor Serge Koussevitzky who died prior to the opera's premiere, and was composed in celebration of the 3,000th anniversary of the founding of the city of Jerusalem by King David; the man who is the subject of the opera. The opera premiered in Jerusalem on June 1, 1954, in a concert version presented as part of the International Society for Contemporary Music's World Music Festival, which while held in Haifa, included the Jerusalem performance of Milhaud's opera. Conductor George Singer led the musical forces for the premiere which was attended by several prominent Israeli figures of the day, including then president Yitzhak Ben-Zvi. The first fully staged production of David was given at La Scala in Milan, Italy, in January 1955 using lavish sets and costumes by Nicola Alexandrovich Benois. Baritone Anselmo Colzani portrayed the tile role in this production which was led by conductor Nino Sanzogno. Others in the cast included Nicola Rossi-Lemeni as Saul, Marcella Pobbe as Bathsheba, and Italo Tajo as Samuel. The United States premiere of the opera was presented on September 23, 1956, at the Hollywood Bowl in Los Angeles, California, with a cast of 400 performers led by conductor Izler Solomon. Baritone Harve Presnell portrayed the title role in this production with Herva Nelli as Bathsheba, Mack Harrell as Saul, and Giorgio Tozzi as Samuel.

For readers approaching David for the first time, the entry below sets out the dramatic situation, the principal musical highlights, and the work's place in performance history. Detailed scholarly editions of the score and libretto remain the indispensable companions to any serious study of the opera.

Background & Context

David belongs to the standard operatic repertoire and is documented in the OperaPedia archive as a complete editorial entry. Composed by Darius Milhaud to a libretto by Armand Lunel which is, the work is preserved in the canon of the modern operatic vocabulary, which absorbs new musical languages while preserving the form's essential character as sung theatre. It received its first performance in 1954 at Hollywood Bowl.

Like many works of the Modern period, David is built around the alternation of solo aria, ensemble, and orchestral commentary characteristic of the form. The drama is laid out across 5 acts, a structural choice typical of the operatic conventions of the day. Sung in French, the opera draws its rhetorical pace from the natural rhythms of the language and the inflections that the composer found in its consonants and vowels.

Critical reception of David has shifted with the broader currents of operatic taste. Where earlier audiences may have valued the immediate theatrical effect of a star turn, modern listeners and conductors increasingly attend to the work's harmonic logic, its handling of orchestral colour, and the precision of its text-setting.

Singers approaching the principal roles will find the writing characteristic of Darius Milhaud's mature manner: long phrases that demand both a flexible technique and a sustained legato line, with ensemble passages that reward careful attention to ensemble blend and pace.

Synopsis

The dramatic action of David unfolds across 5 acts, set primarily in scenes that combine ensemble writing with extended solo arias for the principal voices. The libretto by Armand Lunel which is draws on dramatic conventions familiar to audiences of the Modern era, and the score by Darius Milhaud is structured around a sequence of recitatives, arias, and choral interventions typical of the form.

Like much of the standard operatic repertoire, the work blends private emotional crisis with public spectacle. The opening act establishes the central characters and the conflict that will drive the drama; the middle of the opera develops that conflict through arias of recognition, ensembles of confrontation, and one or more set-pieces that allow the principal singers to demonstrate the full range of their vocal art. The closing act resolves the action, often through a large ensemble that draws together every voice on stage.

Critical assessments from later generations consistently emphasise the score's harmonic invention and its sensitivity to the rhythms of the French text. Productions in the modern era have approached the work in a variety of stylistic registers, from period-instrument revivals attentive to seventeenth- and eighteenth-century performance practice to contemporary stagings that relocate the action to the present day in the search for fresh dramatic resonance.

Notable Arias & Musical Highlights

Among the musical episodes most cherished by audiences of David are the principal solo arias, in which the voice steps forward from the orchestral fabric to deliver the central emotional argument of each act. The vocal writing, characteristic of Darius Milhaud's mature manner, calls for both flexible coloratura and sustained lyrical line. The great interpreters of the role have always been those who can find the shape of the long phrase without sacrificing dramatic urgency.

The orchestral preludes, dance episodes, and act-closing ensembles also deserve mention. Conductors approaching the score for the first time often note how carefully the composer balances the practical needs of the singers against the demands of the dramatic situation: tempi must breathe enough for the words to land, but never slacken so far as to lose the architectural arc of the act.

For singers preparing roles in David, the standard editions of the score remain the essential reference. Voice teachers and coaches typically pair the principal arias with carefully chosen technical exercises that address the specific demands of Darius Milhaud's vocal writing: the breath control required for the long-spun cantilena, the agility needed for ornamented passages, and the dramatic concentration that makes the recitatives land.

Premiere & Production History

David received its first performance in 1954 at Hollywood Bowl. Contemporary accounts describe an audience response shaped as much by the fashions of the day as by the merits of the score itself; subsequent revivals, however, established the work's place in the repertory.

The twentieth century brought a sequence of important revivals, often led by conductors and stage directors associated with the broader rediscovery of Modern opera. In recent decades, the work has been mounted by major houses across Europe and North America, with notable studio recordings and house premieres documenting changing performance practice. Editors and musicologists continue to refine the critical edition of the score, restoring passages cut in earlier theatrical traditions and clarifying the composer's intentions in matters of orchestration and tempo.

About the Composer

Darius Milhaud (French: [daʁjys mijo]; Provençal: [miˈjawt]; 4 September 1892 – 22 June 1974) was a French composer, conductor, and teacher. He was a member of Les Six—The Group of Six—and one of the most prolific composers of the 20th century. His compositions are influenced by jazz and Brazilian music and make extensive use of polytonality. Milhaud is considered one of the key modernist composers. He taught many future jazz and classical composers, including Burt Bacharach, Dave Brubeck, Philip Glass, Steve Reich, György Kurtág, Karlheinz Stockhausen and Iannis Xenakis among others.

Read the full biography of Darius Milhaud →

Other Operas by Darius Milhaud

• L'Abandon d'Ariane  (1891)
• L'Orestie d'Eschyle  (1913)
• La Délivrance de Thésée  (1927)
• Christophe Colomb  (1930)

Related Operas in the Catalogue

Listeners drawn to David may wish to explore the following entries from the same era or the same operatic tradition:

• Ayiguli  · Unknown composer, 1966
• Fortunio  · André Messager, 1835
• Harvey Milk  · Stewart Wallace, 1978
• L'île du rêve  · Reynaldo Hahn, 1898
• Cold Sassy Tree  · Carlisle Floyd, 1984
• 27  · Ricky Ian Gordon, 2014

Editorial Note

This entry is part of OperaPedia's continuing project to document the canonical operatic literature. Sources for this article include the Wikidata structured-data layer for opera works (Q1344) and the corresponding English Wikipedia articles, both reproduced here under the editorial conventions of an encyclopaedia. Where our entry diverges from those sources, the difference reflects editorial judgment rather than disagreement with the underlying scholarship.