Tuesday 5 August 1997

Samson and Delilah, Saint Saens, Aug 5, 1997


Samson and Delilah (Samson et Dalila), composed by Camille Saint-Saens, libretto Ferdinand Lemaire
Opera Australia State Theatre August 2, 7, 9, 11, 13, 1997
Reviewed by Kate Herbert on Aug 2, 1997

In Camille Saint-Saens' opera, Samson et Dalila (1857), Sam is a hero, Delilah a vengeful whore. Misogyny rules. O.K.

Samson, a lusty thug, rescues the Jews from Philistine slavery. His weakness is his taste for women – lots. The Philistine, Deliliah, disguises vengeance on her former lover as religious zealotry. Her High Priest believes she does it for Dagon, a Philistine god with a name like a pesticide.

Lindy Hume's production focuses on two marvellous voices. Georgian tenor, Badri Maisuradze (Samson) has impeccable control and a rich, subtle tone. Bernadette Cullen's (Delilah) warm mezzo is a fine complement.

Samson succumbs to the 'femme fatale' Delilah who discovers, for her High Priest (Gary Rowley), the secret of his strength. He is blinded, incarcerated, humiliated until he begs God for the strength to destroy the temple and the enemy.

Richard Divall conducts the State Orchestra with distinction. The First Act's sonorous tones echoing the enslavement of the Jews, is musically the least interesting but Hume's opening image of chorus high behind huge scarlet walls, is spectacular, if too brief.

Much of what follows remains unsatisfyingly static, relying on John Gunter's design for visual interest. The final act is more impassioned visually and musically, with focus on Philistine revelry and taunting of Samson.

Unfortunately, the static staging does nothing to enhance the limited acting. Maiduradze is not credible as the heroic Samson, although Cullen plays a stately Delilah. It is a passionless depiction of a relationship built exclusively on lust. The earth doesn't move for anybody except the delightfully sultry dancers who represent all their inner life.

KATE HERBERT  

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