A suspenseful crescendo of strings marks the start of Samson & Delilah, a biblical tale of faith, love and betrayal. The stage is sparse but imposing pillars reaching toward the Palais Theatre’s flyspace create a grandiose, ancient atmosphere. This, paired with warm, selectively applied lighting, sets the tone for director Suzanne Chaundy’s traditional interpretation of Samson & Delilah, complete with Greco-Roman robes, and not one but two dance interludes.
The production has a promising start, with the chorus suitably forlorn as they lament their oppression by the Philistines. Samson, performed by Rosario La Spina, enters and begins to stoke the flames of rebellion. La Spina’s voice has a youthful vigour to it and his technical strength matches that of Samson. It’s easy to believe he would have soldiers quaking in their boots. His defeat of the Philistines is followed by the High Priest, performed by Simon Meadows, cursing Samson. Meadows’ fury as the High Priest is palpable.
But by the time Delilah arrives at the end of Act One, the production falters. Chaundy’s blocking, now settled in, becomes repetitive and is generally lacklustre. There’s a penchant for characters to hold their arms out wide – often without cause – and wander aimlessly back and forth across the stage.
Delilah, performed by Deborah Humble, delivers the same persona whether she is seducing Samson or plotting his downfall. And the term seducing would be a stretch – the dancers that accompany her exude more sensuality and interest in Samson. If one weren’t familiar with the opera or reading the surtitles, it wouldn’t be unreasonable to think Samson is being tempted by the promise of an orgy rather than reuniting with a forbidden lover. Thankfully, Humble comes alive in Act Three as she gloats over Samson’s broken form.
But by then the damage to the emotional core of the opera – the through line that builds the suspense – has been done. No shock or anger rises in the belly when Delilah reveals her love to be fake. There’s no sense of betrayal when she attacks Samson’s weakness, as Delilah’s love – the impetus for Samson to reveal his Achilles’ heel – is uninspiring and unbelievable.
On the whole, there’s not much excitement to derive from the narrative’s delivery. This leaves Saint-Saëns’ score. Conductor Raymond Lawrence balances the sound between cast, chorus and orchestra well. He saves forte dynamics for the most dramatic moments of the opera, which makes them all the more satisfying. La Spina’s vocal performance is a delight throughout and Humble matches him at times in Act One and Two, but comes in firing in Act Three, which is a welcome injection of energy to the production. For music lovers, there’s more than enough here to enjoy.
Read: Dance review: Ballet Preljocaj: Swan Lake, Lyric Theatre, QPAC
And, despite this production’s flaws, Samson & Delilah still creates that sense of spectacle and grandeur that is unique to opera.
Samson & Delilah
Melbourne Opera
Palais Theatre
Composer: Camille Saint-Saëns
Director: Suzanne Chaundy
Conductor: Raymond Lawrence
Cast: Deborah Humble, Rosario La Spina, Simon Meadows
Tickets: $69-$199
Samson & Delilah will be performed until 3 June 2025.
