‘Samson and Delilah’ at the ROH: go for the music

As cultural icons from the Bible (Judges 16), Samson and Delilah’s relationship is set against a background over the conflict for territory between Israel and the Philistines. The latter probably arrived during the period of migration following 1200 BC, giving us the modern word Palestine, and a conflict that continues to this day. The Biblical account leaves a great deal unsaid, except that Delilah accepts a bribe to betray Samson and find out the source of his strength.

The themes of love and betrayal — an indomitable, strong man undone by a woman — have inspired numerous stories, and here Camille Saint-Saëns and his librettist Ferdinand Lemaire have given Delilah a motive in which she acts out of religious zeal and patriotic fervour. But why then does she need a bribe? And her hatred of Samson and desire for vengeance are never really explained.

The story recounted by this 1877 opera is not entirely satisfactory therefore, but the music is glorious. Delilah, despite her cruelty which causes Samson to lose his freedom, his sight and his life, is given wonderfully beautiful and seductive music. Here the excellent conducting and singing provide two very good reasons to go to this new run of performances, though the rather tired revival of Richard Jones’ production does not. It includes choreography that is supposed to illustrate the physical power of the Philistines, but came over as slightly camp.

The British conductor Alexander Soddy, who now lives in Vienna, gave fluid, lyrical direction to the orchestra, and he is no stranger to the world of opera. Even at the young age of 43 he is already on to his fifth full Ring cycle, this one at La Scala. Here he was presented with singers who were fully capable of their roles. South Korean tenor Seokjong Baek, who was singing Samson for the second time at the Royal Opera, gave a us superb lyricism, and Russian mezzo Aigul Akhmetshina, who was once a member of the Jette Parker Young Artists Programme at the Royal Opera, gave a stunning performance. With Polish bass-baritone Lukasz Golinski a very firmly sung High Priest of Dagon, and Ossian Huskinson providing bass depth as Abimélech, the satrap of Gaza (where the story takes place) it was a strong cast, with powerful singing from the chorus.

The next time the Royal Opera decides to put on this very effective opera they need a new production. In the meantime it is well worth going for the glorious singing, and orchestral playing under the baton of such a terrific conductor as Alexander Soddy.

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