Sydney Philharmonia Choir and Orchestra: Handel’s Samson
Concert Hall, Sydney Opera House, Easter Saturday 2023
Samson was composed hot on the heels of Handel’s success with The Messiah and shows him at the height of his powers. It debuted at Covent Garden in London in 1743 and was so popular there where 8 performances. Samson along with Handel’s other oratorios and Bach’s passions are the crowning major works of the high Baroque. 280 years later and on the other side of the world, it had lost none of its appeal. This was a warm, committed and wonderful performance, well received by the near capacity audience in the Concert Hall.
Samson is based on Milton’s Samson Agonistes, with some libretto additions and alterations. In the initial part of the biblical story Samson reveals his long hair as the secret source of his strength to his Philistine wife, Dalila, who organises him a haircut and a blinding. This has already happened before the work starts. He is now a slave in the camp of the Philistines, the enemies of the Israelites. Thus the oratorio starts in the depths of despair for both Samson in particular and the Israelites in general, and moves gradually from the darkness (literal in case of Samson’s blindness) into the light. Then due to the fervent prayers of all the righteous, Samson’s strength is momentarily restored by God, and he pulls over the pillars in the heathen temple where he is chained up, and brings the roof down, crushing himself and all the Philistines.
Gaza, where the action takes place, immediately makes one think of the fate of the Palestinians today. One wonders if the Philistines copped it just as badly back then. The antenna go up and we begin to see just how politically incorrect this story is by today’s standards: sexist, racist, non-inclusive and intolerant. Here is the quandary for the modern age: should we really banish this great music and not perform it? Or bowdlerise it? Surely that would turn all that magnificent word painting to nonsense and much would be lost. Banishing it would mean much of the vocal music of Bach, Mozart and Wagner, to mention but a few, would have to go as well. So I vote No. When researching history, we look at source readings regardless of their dubious qualities as judged by today’s ethical standards. We read Roald Dahl despite of inappropriate references to overweight people and The Great Gatsby despite its eugenic tendencies. References to Musical performance should be the same regardless of ethical qualms, making a mental note of the historical context. Of course any children in the audience should be prepared and also debriefed in case they are inclined to take the inherent prejudices at face value.
If we are talking about authenticity though, this was decidedly not an historically informed performance. Harpsichord and positive organ notwithstanding, the orchestra was all modern instruments. Also, it is likely that Handel would have had only 16 or 20 or so professional voices in the chorus. That said, there is however a tradition built up over the centuries to have large choral societies of mostly non-professional choristers, like the 100-or-so strong Philharmonia, performing this music, perhaps justifying the bigger sound of the modern instruments.
I apologise for the tone from my high horse. I am pretty sure the vast majority of the audience would not bat an eyelid over these issues. And of course the very skilled instrumentalists deserve great praise; almost throughout, the use of modern instruments was paled into insignificance by the great delicacy and beauty of the performances.
Brett Weymark, who is celebrating his 20th year as Artistic and Musical Director of the Philharmonia, is a real singer’s conductor. His direction of the choir is always clear and musical, and although he had no direct eye contact with the soloists who were behind him, the quite large orchestra was always in perfect balance and sympathy, never overpowering the singers.
The Philharmonia is the raison d’être of the concert, so a focus on the choir is inevitable. The chorus was well prepared, committed and accurate. There were some nice touches like the Bacchanalian debauchery flanking the Philistine choruses, and sections of the choir standing up separately as their polyphonic entries came in. There were many thrilling musical moments such as the act III choruses “With thunder arm’d” and the biting entry of “Glorious hero”. And the “Let there be light!” which foreshadows Haydn’s The Creation. Particularly profound however was the interpretation of the chorus “Hear, Jacob’s God” at the end of act II. It gave the feeling that this was the turning point of the drama, where God, hearing his people’s impassioned plea, could not help but resolve to aid the Israelites through Samson’s redemption.
The soloists were consistently wonderful. Alexander Lewis’ clear tenor voice and beautiful diction was perfect for Samson, and his vocal shadings and dramatic presence took us from the depths of despair in “Total eclipse” to the light in “Then shall I make Jehovah’s glory know!”
Celeste Lazerenko’s radiant and vibrant soprano voice and expert musicality also ranged widely from the sultry Dalila’s attempted seduction in act II, to the most famous aria in the oratorio, the jubilant “Let the bright seraphim”.
The counter tenor voice of Russel Harcourt was splendid indeed; strong and even throughout the vocal range and delicately expressive. Amongst many others, I loved the Air and Chorus “Return, O God of hosts”.
Christopher Richardson’s rich bass-baritone voice gave real gravitas to Manoa, and the bass Andrew O’Connor as the Philistine giant Harapha was imposing.
The chorus members recruited for the minor roles were equally impressive; Stephanie Mooney (A Virgin) and Matthew Flood (Messenger) gave sensitive and strong performances.
Despite my initial misgivings, this performance shone with musicality, passion and commitment. It was an immensely enjoyable rendition of this wondrous music.
Photo credit: Simon Crossley-Meates
