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15/03/2004 A Night at the Opera: Friday
Samson and Dalila is the only opera by French composer Camille Saint-Saens to be performed regularly in the opera houses of the world. Having witnessed the opening night of the new run at Covent Garden, I can see why. It's a shocker: little narrative thrust, no dramatic tension, weak characterisation and an almost complete absence of notable melodies. This Royal Opera House revival of its 1981 production of Samson tried hard enough. When given a chance, principals Jose Cura and Denyce Graves suggested that their envied reputations are justified. But Saint-Saens' score offers so little to its singers, with virtually no arias or duets worth the name, that even world-class artists like Cura have little chance to shine. There were (minor) high points in this largely wasted evening. The dancing in Act 3 was so delightfully expressive that it might tempt even this sceptic to sample a full-blown ballet one day. The design, by celebrated Aussie painter Sidney Nolan, notably the graphic leitmotif of the blinded Samson, was remarkable. If ever a multinational were seeking a logo to promote a "Samson" brand, you could see them paying an awful lot of money to acquire the rights to that artwork. Samson and Dalila is one long yawn. Posh tosh. I've heard far more enjoyable music on a wet Wednesday in Wakefield. Grown-ups should avoid. The weakness of this opera underlines a central credo of Music for Grown-Ups - that music in every genre ranges from the outstanding through the mediocre to the unconvincing. Opera's no different. An opera is only as good as its songs. Any gig depends primarily on the set list. That's why I'm currently avoiding shows by rock titans Neil Young (Greendale, the cornball clunker) and Van Morrison (pastiche pop), but grabbing any chance to see Dylan yet again (delicious random sampling of the canon of the greatest living writer in the English language). Gerry Smith
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