A social context can change our perceptions profoundly. Saint-Saëns’ Samson et Dalila was initially rejected by Paris on a number of grounds: its portrayal of biblical subject matter as an opera rather than an oratorio, its suggestively erotic “Bacchanale” scene, and the belief that Saint-Saëns was a composer of symphonies rather than opera. Its success in Weimar in 1877 was the beginning of many, making Samson et Dalila one of the most favoured French operas of all time – with good reason. Although, understandably, not a consideration when planned, the timing of Melbourne Opera’s production of this most lusciously melodious opera is bound to cause many to think about this familiar story in a different light.
The opera begins with a chorus, the Israelites praying to their god to deliver them from the bondage and suffering inflicted by the Philistines. This inevitably raises the issue of the current tragedies in the Middle East as we witness from afar the grief and suffering in Gaza – and in Israel too. So it is through this lens that we watch events unfold in Samson et Dalila, interpretation being left to each individual.
By paring down several theatrical elements to what she calls “abstract and minimalist staging”, Suzanne Chaundy’s direction ensures a focus on themes of “power, obsession, faith and betrayal”. Here, the emphasis is on the interplay between the characters, and it is noteworthy that she places “power” at the top of the list. Dalila’s arias are all about power, especially her Act 2 aria “Oh Love, from thy power let me borrow” – and what is Samson all about if not his physical power?
The role of Samson also requires vocal power, and Rosario La Spina is just the tenor to supply it. Not only does his voice have the power to project to the furthest reaches of St Kilda’s Palais Theatre, it is also an instrument of great beauty. Vibrant and manly, the tone is gathered in a passionate somewhat Italianate style to convince an audience that this Samson really does have the wherewithal to bring the house down. Unlike Caruso, who also starred as Samson, La Spina has a large physical presence to add credibility to the role.
A mezzo-soprano would never have the cutting power of a rampant tenor, but Deborah Humble was a worthy partner for La Spina, her voice firm throughout the range and carrying the most gleaming allure as she luxuriated on the soaring phrases of the famous Act 2 aria “Mon cœur s’ouvre à ta voix”, (the so-called “Softly Awakes my Heart”) and the duet. Humble’s physical beauty, graceful movement and dramatic skills also enhanced her portrayal of one of history’s great femmes fatales. It is a big role, and Humble seemed to expand into it as opera progressed, her seductive duet with La Spina being the highlight it should be. She seemed to relish inhabiting the triumphant, sneering Dalila of Act 3.
Male power was asserted from the get go, with bass baritone Jeremy Kleeman strong, assertive and dynamic as Abimélech, “the governor of Gaza” (yes, Gaza!). I doubt that Kleeman is capable of putting in anything less than an excellent performance. Baritone Simon Meadows continued the male vocal heft with a vocally and physically authoritative performance as the High Priest of Dagon – a worthy adversary for La Spina’s Samson. It was exciting stuff.
To round out the male heavyweights, Eddie Muliaumaseali’i had all the vocal and physical gravitas that the role of the Old Hebrew calls for, his bass voice possessing the warmth and rounded deep resonance that has long made him a favourite with Melbourne Opera audiences – and beyond.
The minor solo roles of the two Philistines (Josh Erdelyi Gotz and Henry Shaw) and the Messenger (Asher Reichman) were all well sung. Reichman in particular can always be relied on to give a focused, fully engaged performance even when he is not actually singing.
The minimal staging, almost oratorio style, was largely effective, but having the orchestra deployed along the back of the stage rather than in the pit was not always ideal in terms of sound quality, particularly on the odd occasion when the chorus acted as a screen; however, the upside of this arrangement was that the singers’ voices were given prominence. It is not often that singers can compete with the brass section and win handsomely. There was also the issue of Harry Cope’s lighting design, which was occasionally so atmospherically subdued that lights from the music stands became the brightest objects on the stage.
Elevated above the orchestra, the chorus tended to sound a little remote. In some respects this was effective and in keeping with the action, but when they came to the front of the stage the difference in power was striking. Whether as a crowd of Israelites or Philistines, together or in male or female sections, the singing was disciplined and full-bodied, the fugal sequence being particularly impressive.
A successful component of the minimalist production values were Rose Chong’s costume designs. Whereas principal singers wore costumes in keeping with their various roles, the chorus wore uniform long black robes. The transition from Israelite to Philistine was the removal of head covering, which worked extremely well. Chaundy’s direction of the chorus as they stood aloft in rows, Greek chorus like, was inspired. The continuous slight movements, especially as hand and faces were softly illuminated against a black background were never intrusive, but enlivened what could have been static and dull.
French opera can pose considerable challenges to a director when it comes to the ballet requirement. Apart from Dalila’s Act 3 aria of seduction, the music for the Bacchanale is the most familiar part of the opera, and it is long enough to be played as an item by symphony orchestras. For some, ballet are a highlight, for others something to be endured. Considering the limitations of space, the dancers (and choreographer, Chimene Steel-Prior) did a reasonably good job of providing visual interest that culminated in an attractive and beautifully lit tableau. What was most commendable was the way dance movement was integrated into other parts of the opera; it was not just “tacked on”. Jacob Battista’s set design, featuring a large round tilted platform (suggesting Samson’s millstone perhaps?) and two ramps were used to good advantage.
Like the chorus, the orchestra played with verve and precision under the baton of Raymond Lawrence. Anyone averse to opera ballet could just close the eyes and enjoy the music. Saint-Saëns’ score is unfailingly pleasing, and the orchestral playing of those repeated swirling wind motifs was tremendously evocative; it was passion and palpitating hearts for Dalila’s music.
Considering Melbourne Opera’s financial constraints, the level of achievement of this little company that could (and consistently does) is phenomenal. To ensure viability, money has been wisely prioritised, with an emphasis on the quality of the performers and a reliance on the ingenuity of the creatives. Based on those two fundamentals, Melbourne Opera has produced an unmissable experience with this Samson et Dalila.
Photo credit: Robin Halls
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Heather Leviston attended Melbourne Opera’s production of “Samson et Dalila”, presented at the Palais Theatre, St Kilda on June 1, 2025.
