Handel’s Samson: A music review by Shirley Politzer
Cheering, foot stomping, loud clapping, and a standing ovation were how Handel’s Samson oratorio was received at the concert hall of the Sydney Opera House. Samson is a lesser-known oratorio to Handel’s Messiah, but no less full of drama and variety and a perfect work for the Easter season. The well-known arias “Let the bright seraphim”(soprano), “Total eclipse”(tenor) and “Let their celestial concerts” (final chorus) are often performed separately in concert. This production was performed magnificently by the Sydney Philharmonia Choir and Orchestra, conducted by long-time artistic and musical director Brett Weymark.
Samson, the three-act oratorio performed in English, premiered successfully in London in 1743, with the opening scene introducing Samson, already having lost his strength-giving hair and blinded, a broken prisoner of the Philistines. The role of Samson was so capably performed by Alexander Lewis (tenor). Lewis, wearing no jacket, looked appropriately worn down and dejected. The clarity of his words was exemplary.
Celeste Lazarenko sings Delilah Photo: Shirley Politzer
Delila, sung by soprano Celeste Lazarenko, made a dramatic first entrance wearing a vivid red full gown and long pink veil (matching the new concert hall petals), creating a strong contrast with the soloists and orchestra being all in black. She sang her part so beautifully across the undulating high and low musical passages and long phrases, with her expressive face and actions being very captivating.
The role of Samson’s friend Micah was performed by the mesmerising countertenor Russell Harcourt. A countertenor is a male singer with a naturally born high-pitched voice that sounds rather like an alto female singer. Harcourt’s voice was so pure and clear. Handel gives Micah some beautiful music to sing, including the famous “Return, O G-d of hosts”.
Photo: Simon Crossley-Meates
Christopher Richardson (bass-baritone) as Manoa, Samsons’ father, Andrew O’Connor(bass) as Harapha, a Philistine giant, Stephanie Mooney(soprano) as a Virgin and Mathew Flood (tenor) as a Messenger also all had outstanding voices.
As wonderful as the soloists were, the oratorio was enhanced by the talented Philharmonia Choir and Orchestra and their revered conductor Brett Weymark. Handel used a standard Baroque and continuo orchestra, and Brett chose to feature his horn and flute soloists by positioning them around the choir and orchestral area, allowing them to shine.
Another interesting idea of Weymark was how the tension was created by the choir just before interval by the slow standing of the choir only as their parts were introduced. Brett’s conducting was very clear and decisive, with the excellent training of the choir most obvious in the repeated phrase in scene four, “save us”- where the “s’ sounds, usually a problem in choirs to co-ordinate together was sung perfectly in unison each time.
Photo: Simon Crossley-Meates
I overheard a comment from an audience member saying how uplifted they felt at the end of the oratorio compared to how they felt when they arrived. The rest of the audience obviously agreed, and so did I.
I can’t finish this review without mentioning the musical Acknowledgement of Country, Tarimi Nulay which preceded Samson. I was hearing this for the first time. The music had the desert and bird sounds with a feeling of calmness and beauty that is Australia.
Deborah Cheetham, the composer, was one of my elective music students when she was in high school and I am so proud of what she has accomplished in her musical career.
