Only a few special people can understand why anyone would travel to Barcelona for a stay of only 17 hours with a "no vision" ticket for an opera. But if you're reading this you are probably one of the few! I had hoped to be able to buy a better ticket outside the Liceu, but I saw only 3 returned tickets being sold. A German lady warned us that she had missed the first act of the previous performance because the police had seen her buying a ticket outside the Liceu and had taken her to their office to interview her. I met a lady from Australia who had come without a ticket of any kind - she managed to buy a "no vision" ticket about 10 minutes before the performance. Of course it was worth the gamble, and we were so relieved that there were no signs in the booking office saying that Snr Carreras would not be singing.

The performance was absolutely wonderful. I had read several criticisms of the first night: "Dramatic baldness " "Dalila was 'absent' " "an assemblage of cardboard rocks and pallid music " "A Samson et Dalila with more pain than glory " etc. etc. Do these critics ever enjoy themselves?

The first act has some lovely choral singing. It has been argued whether Samson et Dalila should be described as an oratorio rather than an opera. The Hebrews were practically motionless as they sang their mournful chorus. Samson appeared and it was as if the saviour had arrived. Josep Carreras looked like the pictures of Jesus that used to hang in our Sunday school 50 years ago. His wig was magnificent - a beautiful wavy mane very like Cecilia Bartoli's. It came well down his back and was kept in place by a leather band across his forehead. He looked fit and strong and moved smoothly around the stage. Carreras's voice was tight initially but soon sounded more like him. The Hebrews were inspired as he moved among them, "the breath of the Lord has entered his spirit". He killed Abimelec and the Philistine soldiers ran away and hid. The High Priest (the imposing figure and strong voice of Simon Estes) tried to shame them into action. Dalila appeared and pretended to praise Samson for his victory, and she invited him to her house. Markella Hatziano was a voluptuous Dalila. She had a lovely smile and a beautiful voice. The old Hebrew (sung outstandingly by Barcelona born Stefano Palatchi) tried to warn Samson "Woe unto you, if you heed the charms of that voice sweeter than honey! Never will your eyes hold enough tears to assuage the wrath of heaven". From the moment he set eyes on her, however, Samson was lost.

In the second act Dalila and the High Priest plotted Samson's downfall. He came hesitantly to her house and the following love duet was the highlight of the opera. It was the most moving singing and acting I have ever seen. Hatziano was so seductive and Carreras tenderly caressed her hair, cheeks and hands. He sang on one knee with his back to the audience, but facing Hatziano. They sang beautifully together, their voices were well matched. Carreras sang the phrase "Dalila, je t'aime" quietly yet more passionately each time. The audience was silent, hanging onto every word. When Samson was finally lured into Dalila's house and she called the soldiers in to capture him, I felt absolutely shattered and desolate. I was glad that I was on my own so that I could sit quietly during the interval and hold on to the experience.

Act three started with Samson in chains, turning the mill stone. His clothes were ragged and his beautiful hair cut. Black holes where his eyes had been gouged out. Carreras acted the scene really convincingly. He prayed to God for forgiveness and asked to be sacrificed to save his people. The scene changed to the temple of Dagon. The Baccanale was very erotic and pagan, with exciting dancing. The slaughtered goat was rather too reminiscent of scenes at home with the Foot and Mouth pyres. Samson was led in to be taunted by the Philistines - horribly pushed around and scorned. Carreras gave a very convincing portrayal of a blind man. His gentle acting with the boy who led him round was very touching. Finally he was led to the pillars supporting the temple and with a tremendous plea to the Lord for strength he pulled the temple down killing everyone. O.K. so the pillars were obviously made of cardboard but what would you expect - real stones falling onto the cast? The pillar of the performance was clearly Josep Carreras.

You may have wondered how I saw so much from my £4 "no vision" seat. I had to stand all the time and lean forward a long way!

P.S. The previous day I had helped to deliver a lamb that became stuck - it was a lovely big tup lamb so I called him Samson! (Our ewes are Carmen, Tosca Adina and err . Long tail).