Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

OPERA TODAY ARCHIVES »

Reviews

Camille Saint- Saëns:Samson et Dalila
12 Aug 2011

Saint-Saëns’s Samson et Dalila in Antwerp

Bonus features on opera DVDs usually get generic names, such as “Interview” or “Backstage with…”

Camille Saint- Saëns:Samson et Dalila

Samson: Torsten Kerl; Dalila: Marianna Tarasova; High Preist: Nikola Mijalovič. Symphony Orchestra and Choir of Vlaamse Antwerp/Ghent. Conductor: Tomáš Netopil.

EuroArts DVD 2058628

$24.99  Click to buy

This 2009 staging of Saint-Saens’s reliably goofy Biblical tunefest Samson et Dalila takes the prize for the most apt and amusing title for a bonus feature about the directors (yes, two in this case) of a “Regie” staging: “Amir Zuabi and Omri Nitzan explain the production and staging.” In the more obscure and complex Regie productions, such a bonus feature would probably pay big dividends. In the case of Zuabi and Nitzan’s take on Samson et Dalila, an explanation proves superfluous. One can admire the fact that one director is Israeli (Nitzan) and the other Palestinian (Zuabi), and that they have worked together to update the Biblical setting of the opera to the contemporary Middle East. Nevertheless, what is actually onstage (and before the cameras) is no more challenging to the average intellect than a traditional staging of this deliciously silly but potent opera.

Act one still betrays its origin as an oratorio, with the chorus standing mid-stage, with very little movement. The dress is modern, with khaki battle jackets and long neck scarves serving to suggest a Mideast setting. Sets are minimal. Act two still focuses mainly on Dalila’s bed, albeit with the huge leaves of some desert flower around it (which oddly close on the prostrate Samson at act’s end). Act three is no temple but some sort of bizarre fashion-cum-armory show, with young beauties of both sexes in black underwear, carting bazookas and grenade launchers. Undoubtedly the directors expected to shock with the revised climax, which has Samson in a suicide bomber’s explosive jacket, ready to push the button to bring down the temple when a blackout ends the show. The shock is in how little effect is actually produced, since everything leading to that point has been so innocuous. One can only admire the optimism of the EU Commissioner “for External Relations” who composed a note reprinted in the booklet, claiming that this production will “spearhead…a successful and respectful inter-cultural dialogue.” Their Euros at work!

Given all that, any opera performance comes down to musical quality to prove its worth, and this performance actually has a fair amount going for it. After a few unsteady moments at the beginning, conductor Tomáš Netopil gets a rich, precise performance from the Vlaamse musicians. Don’t be surprised to hear some arpeggio sections that suggest Saint-Saens as a precursor to late 20th century Minimalist composers. As Samson, tenor Torsten Kerl is in fine voice, easily reaching up to the higher sections, and with a commanding strength throughout his range. Marianna Tarasova’s Dalila has a bit too much of that hooty quality not unknown in this part, but she is comfortable in the role. In the only other part with a real opportunity to make an impression, Nikola Mijalovič as the High Priest puts out a handsome flow of sound, even while, apparently, sodomizing Dalila. Don’t ask.

Strict traditionalist may get their feathers in a bunch over this production, but really the directors flatter themselves about their political risk-taking. In the end, it’s still Samson at Dalila — for good and bad. Catch this for some decent singing and a tasty performance of the score by the orchestra.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):