It was somewhat of a surprise to arrive at the Royal Albert
Hall for only the second performance of Handel's early oratorio, Samson,
and find an auditorium with room for plenty more. Perhaps it was not so
surprising that prommers had not flocked to stand in the centre of the hall for
the substantially long performance (totalling nearly four hours), but there
were a fair number of empty seats throughout the stalls and galleries, although
interestingly not in the boxes, which were all full to the brim; perhaps four
hours of desperate bewailing over romantic deceit is all the sweeter with a gin
and tonic within easy reach.
The narrative of this fine work (base on John Milton's Samson Agonistes) is in fact one of the strongest aspects of this fine piece. Coupled with Handel's boisterous choruses and anguished, aching melodies, this lengthy oratorio becomes an encapsulating and whirlwind journey. The English Concert and their choir are in fine form as we've come to expect. The lengthy overture is clear and concise, with only a few slight falters from the brass section. The opening strings at the start of the first chorus were particularly tight and this in turn was reflected in the choir’s strong and dextrous performance. The opening recitative from Mark Padmore as Samson and Lucy Crowe's aria as a Philistine woman both showed clear, crisp diction that reached the very back of the hall where I sat.
The orchestra were well led throughout with the clear and emphatic movements of Nadja Zweiner. Zweiner also offered a beautiful solo in the opening air of Act 2, accompanying Susan Gritton as Delila.
The highlight of Act 1 was undoubtedly the famous aria, 'total eclipse'. The sweeping string melody builds up fine emotional momentum before the silence that met Padmore’s a cappella opening lines. It was a truly striking moment that beautifully portrayed the emptiness and void of darkness that Samson feels trapped within.
Micah, sung by the inimitable Iestyn Davies, provides a wonderful contrast to this anguished moment with his recitative that follows. His honeyed tones bring endless pleasure to what seems to me the best part in the oratorio. He manoeuvres effortlessly through demanding semiquaver passages, for example in his last air of Act 1, and delivers the most amazingly-articulate 't's. Each flies like the sharpest of arrows right to the very back of the hall; not one could be missed by a single audience member.
The chorus once again provided a crisp and energetic contribution with their Isrealite cry, 'Oh first created beam;' a wonderfully rich, warm sound.
Act 2 brings the arrival of Susan Gritton as the infamous Delila. She, more so than any of the other soloists, offered the greatest acting performance of the evening. Her passion and emotion was particularly forthcoming in her early air, trying to convince Samson to forgive her. Her pained pleads 'Hear me, hear the voice of love' were full of yearning and protestation. She has great stage presence, portraying the text with great animation and persuasion (although evidently not enough for Samson!). This air, which is a duet with Crowe as the Philistine woman, was another particular highlight of the evening, with both sopranos being very well matched indeed. Although Crowe's lighter, clearer tone is more to my personal taste, they complimented each other well.
Act 2 reaches its pinnacle of tension with Harapha (sung by Christopher Purves) and Samson's duet 'Go, baffled coward, go'. The tension was well built up and testosterone was positively overflowing as the two challengers riled against each other. Followed by a rousing chorus with the soloists, the brass section stood up to blast over the triumphant sound, creating an exhilarating end to Act 2, and sustaining interest for the final third of the evening's performance.
The final act began with a bang – or rather a clap – of thunder, as the chorus offered a rousing and rumbling rendition of 'with thunder arm'd great God arise!' A marvellously reverberating bass line from the English Concert matched this. Similarly, the chorus' lamentation at Samson's death is another wonderful moment; the rich tones depicted the sorrow of the event perfectly. The preceding death march featured the most marvellous organ interludes from Benjamin Bayl – delicate and poignant moments each.
A fantastic performance overall then, with many sparkling individual performances. Harry Bicket's conducting from the harpsichord was as always the glue that holds this masterful ensemble together. Aside from a few messy stands, the Choir of the English Concert were on top form, and the English Concert maintained their ever-high standards. For me, the highlight has to be the tones of Davies; his silky tones were a hidden jewel in the crown of this most enjoyable performance of a Handel classic. Let's hope it's not too long before its back at the Proms again.
Photo: Susan Gritton by Malcolm Crowthers
Related articles:
Concert review: The Budapest Festival Orchestra at this year's Proms
Concert review: The Ukulele Orchesra of Great Britain at this year's Proms
Concert review: New Cello Concerto from Chin and works by Stravinsky and Ravel at this year's Proms
Concert review: Esa-Pekka Salonen conducts the Philharmonia in Andriessen and Ravel at this year's Proms