By Carol Davis
SAN DIEGO—The San Diego Opera Company has brought back (by popular demand) Camille Saint-Saëns’ beautiful Samson et Dalila. The last time we were treated to this 19-century French opera was in 2007. No question this tale is of biblical proportions. The sets, rented from the San Francisco Opera, (Douglas Schmidt) are ‘gargantuan’ and eye popping especially in Act III.
The interior of the Temple of Dagon is huge. It is here where the gods rule over the Bacchanal and where Samson is chained, at the end of Act III, to the two large pillars that become symbolic of the story. Most of the individual costumes for the Philistines are covered with jewels and are a colorful blending of fabrics. The Hebrews for the most part are covered in prayer shawls and wearing black especially in the opening number. Samson’s costume needs a bit of a makeover. It’s drab and awkward looking. (Carrie Robbins)
American tenor Clifton Forbes is Samson (his beautiful tenor voice, especially in Act II, sounded very cantorial) as he was in 2007 and his Delilah, in this production, is Bulgarian mezzo Nadia Krasteva. She is a powerful force with which to be reckoned.
The good news is that for this Sunday school teacher of many moons ago, the story of Samson and Delilah was a terrific spellbinder. The motives are as old as well, biblical days.
Outside the Philistine temple of Dagon a large chorus of Hebrews are begging The God of Israel for relief from bondage with the melancholy “Dieu, d’Israël” (by the impressive San Diego Opera Chorus under the direction of Charles F. Prestinari) that leads into a fugue (‘Nous avons vu nos cités renvresées’). Hebrew warrior Samson, famous for his heroic deeds and his superhuman strength, tries restoring their faith in their God by offering the rousing aria (Aarëtez, ô mes frères).
Philistine governor Abimelech, (Russian bass Mikhail Svetlov) taunts the Hebrews and provokes Samson into a knife/sword wielding fight where the good governor winds up on the wrong side of the altercation. The Philistines, in revenge, set Delilah out to capture the heart of Samson whom she knows is smitten with her. But… before Delilah lets Samson get too far with her, she taunts, charms and seduces him into telling her the secret of his superhuman strength.
The secret of his extraordinary powers (to be used against the Philistines) was made at his birth. In a covenant with God, Samson was to serve his God and protect the Israelites. He was never to cut his hair and never consume alcohol. His conquests were readily known and while he kept his promises he didn’t take them very seriously. But… when Samson let the flesh get in the way of the secret of his strength, it was the beginning of his downfall and eventual death.
No question San Diego Opera’s version of the opera does have its stirring moments especially when Ms. Krasteva is on stage looking regal, acting seductive and especially when she is singing. Her rich and powerful mezzo-soprano voice is stunning and her delivery easy and natural. Particularly when she sings her seduction aria in Act II, “Mon Coeur s’ouvre à ta voix,” it went right to the bone and resonated throughout, the night I saw the performance.
Other standout voices include American bass Gregory Reinhart, as the Old Hebrew who warns Samson to ‘be careful’ of the seductress Delilah. Persian-American baritone Anooshah Golesorkhi’s High Priest of Dagon is especially impressive as he mocks Samson during the The Bacchanal, at the end of the opera.
Choreographed for dancers the Bacchanal is the most sensuous part of the evening with flowing veils and scant costume. It is stunning and provocative to watch especially in Act III as the opera winds down and Samson is being paraded before the crowds in a humiliating display of evil revenge. (Kenneth von Heidecke)
Overall though, librettist Ferdinand Lemaire doesn’t have a whole of story to work with. The actual biblical account in the opera, taken from the Book of Judges, is limited to the seduction and destruction of Samson that in turn causes the narrative to lag. Nothing of his past conquests is even mentioned. For three hours (with two 25-minute intermissions) his conquest by Delilah, is the focal point of the opera.
Unfortunately for director Leslie Koenig, there are only so many ways Delilah can seduce Samson so that the production can still have a G rating. That said, all the messing around in Act II becomes a little distracting and by the time Samson reveals his secret to Delilah, her hair shearing act of defiance happens so fast and his strength disappears so suddenly, that it is almost anti climactic.
However, the voices, the sets and the dancing are worth the price of admission and you won’t want to miss the opportunity to see and hear Ms. Krasteva.
See you at the theatre.
Dates: Feb. 22 and 24
Organization: San Diego Opera
Phone: 619-533-7000
Production Type: Opera
Where: Civic Theatre, 3rd and B San Diego, CA 92101
Ticket Prices: Starting at $45.00
Web: sdopera.com
Venue: Civic Theatre
*
Davis, a San Diego-based theatre critic, may be contacted via carol.davis@sdjewishworld.com