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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