Samson et Dalila

The story of a super strong hero who leads his countrymen out of oppression only to be betrayed by his glamorous lover was first written down in the bible in The Book of Judges. It has crossed time and continues to stir the emotions. It is also sure material for a dramatic opera. Camille Saint-Saens first wrote Samson and Dalila as an oratorio, a piece in three acts and four scenes, each one them filled with danger and potential tragedy. Along with the story, comes some of Saint-Saens most sublime music, melodic, powerful and lyrical with high notes to test any tenor’s ability. It also demands a large chorus, including an energetic scene of revelry in the final act.

The Royal Opera House rises to the challenge with a production first staged in 2022. Most important are the two principals, South Korean tenor, Seokjong Baek and Aigul Akhmetshina. Baek, until 2020 a baritone, has no problem with mastering all the heights Saint-Saens demands. He is magnificent during the triumph first act when he exhorts the downtrodden Hebrews to rise up against their masters, the cruel Philistines. His attack on Abimelech, a kinsman of Dalila is a small part of a just war. But he is also convincingly human in the second act and seduction scene when Dalila, enraged by the death of Abimelech, lures him to her bed and to his own undoing.

Since opera is a visual form as well as a musical, I feel justified in noting that Akhmetshina’s dazzling face and form are on her side even before she opens her mouth. Her voice does not disappoint, easily surmounting that great aria, ‘Mon coeur s’ouvre a ta voix’ (My heart opens to your voice) as she alternately woos and confronts her lover. Here is the crux of the story, even a man of the highest principles with his Rabbi always at his side, cannot resist the blandishments of a dazzling femme fatale.

Samson is, not however, killed, but shorn of his flowing hair which held the secret of his strength, and, just to confirm his downfall, blinded. In the third act, we see a broken man, supremely aware of his guilt and his responsibility for the resurgence of the Philistines. The aria ‘Vois ma misere, helas’ is just one of the arias in which Baek excels. As he bemoans his sins, Philistines celebrate their triumph with a scene of fabulous energy, both on the stage and in the music. But Samson’s repentance and prayers to his God are to be the final word. He is restored to his might and, somewhat surprisingly, since opera tends to revel in tragedy, the Philistines are routed once more. Their temple destroyed.

The ROH has brought the opera back after a shortish interval but it is an exciting revival, and the vast statue of the Philistine god, Dagon, portrayed as a giant comic book horror, laughs ghoulishly in his temple as Samson pleads for help from his God. Especial praise to, for the chorus under chorus director, William Spaulding, who play such an important part in making sure the Saint-Saens music reaches every corner of the opera house.

Music: Camille Saint-Saens
Libretto: Ferdinand Lemaire
Conductor: Alexander Soddy
Director: Richard Jones


Photo credit: Mihaela Bodlovic