May 12, 2008
Criticism of 'Samson' is too strong
The Washington National Opera presents Camille Saint-Saens' "Samson and Dalila," conducted by Placido Domingo, directed by Peter McClintock, set and costume design by Michael Scott, lighting design by Joan Sullivan-Genthe, choreography by Vladimir Angelov, in the Kennedy Center Opera House, May 14. Additional performances May 29 and June 1, 4.
The problem many cultural commentators make is taking such a strong position on a given work as to denigrate any thought or opinion contrary to that. Such is the case with "Samson and Dalila." In response to the Washington National Opera's currently running "Samson," at least one relatively major commentator came down hard on the fact that "Samson" is done as an opera and not as a dramatic oratorio, that the music was mostly not worth serious thought, and that just about everything about it was a waste.
It's true that that's what cultural critiques aim to do-give people something to think about. But, when opinions are so strong as to make others shrink from offering opinions, it seems the journalistic mission has failed.
I happen to like the music as oratorio and opera. I also happen to like very much the Washington National Opera's production of it. It may be somewhat static in action, but it goes well beyond that in the thought and emotional processes inherent in the Biblical story. That a director can take a static work and transform it into an intelligently conceived opera is a tribute to that director's talent and insight.
Saint-Saens penned a work that, in the hands of director Peter McClintock, became a compelling and thoughtful piece. Based on an original version by Giancarlo del Monaco, McClintock brought imagination and dimension to this "Samson" and created an intensely appealing and highly melodic event. Visually, it was smartly conceived, aiming for simplicity of design. The only concession to true grandeur was the Act III temple scene that found the pillars and roof of the temple crashing to the ground. It was predictable but nonetheless effective. Everything else was minimal. The lyrics and
Emotional tone of the story carried all the action needed to make this a riveting moment.
The score is a beautiful one, one that was immensely enhanced by Placido Domingo's direction. A last minute substitution for an ailing Giovanni Reggioli, Domingo brought depth of scope and sensitivity to the music making. He was particularly attentive to his principals and most especially to Olga Borodina's, whose emotional interpretations and often freely delivered lines could have caused a conductor much concern.
Some have criticized Borodina as being vocally wrong for the role, suggesting she's less suited for the subtle type singing or character required here. In my opinion, the fullness and size of Borodina's wonderfully balanced mezzo was used to substantial effect and was no hinderance. In fact, her strength permitted us to wallow in the luxury of her rounded, dark, low tones. She delivered a seductive and strong willed Dalila whose portrayal did not disappoint.
Similarly, Virginia born Carl Tanner offered a vocally strong and focused Samson. Rather than tear the character up as some critics have done, it seems a more valuable expense of time to luxuriate in what Tanner does best-sing. And superbly well he did sing. Granted, the role isn't terrifically action packed, but the emotional aspects of Samson and his dilemma over whether to stay true to his God or give in to the cunning charms of Dalila are substantial. Tanner effectively transmitted the inner turmoil, while turning out excellent sounds.
Excellent performances were also turned in by Alan Held as the High Priest, Kyle Ketelsen as Abimelech, and Gregory Reinhart as the Old Hebrew, who portrayal was appropriately stern and authoritarian.
This "Samson and Dalila" has all the ingredients for success and appeal. Literally and figuratively, it brought the roof down.
Copyright © 2008, The Virginia Gazette
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