“Who wants to hear Samson et Dalila?” asked George Bernard Shaw in a masterfully scathing review of Saint-Saëns’ opera in its 1893 UK premiere. “I respectfully suggest, nobody.” Samson et Dalila’s fortunes since suggest an alternative answer. But the piece remains an odd hybrid of opera and oratorio, held together by the best of its music and the talents of the two principal singers.
On the headline-act front, the Royal Opera’s first revival of Richard Jones’s 2022 production is a triumph. South Korean tenor SeokJong Baek returns as Samson, the role with which he made his acclaimed Covent Garden debut. Where dramatic chemistry with Elīna Garanča, the 2022 Dalila, was evidently in short supply, this revival boasts a role debut from the ever-astonishing young mezzo Aigul Akhmetshina. Fresh from a winning streak of Carmens, Akhmetshina exudes dramatic self-possession and physical ease, her seductive intensity the ideal foil for the tortured awkwardness of Baek’s hero.
