Country house opera in an English summer has become a top place to discover operas that aren’t performed all that often: last night was the turn of Grange Park Opera with Saint-Saëns biblical epic Samson et Dalila. They made a strong case in favour of the work.
The strongest witnesses in favour were the Bournemouth Symphony Orchestra, conducted by Gianluca Marcianò, who played out of their skins, revealing Saint-Saëns’ score to be a treasure trove: lush, full of variety, opulent to the point of decadence. The variety of orchestral sounds is greater than any I’ve heard from music prior to the twentieth century, and the music is awash with melody. The orchestra seemed to revel in the opera’s big ballet number, the Bacchanale in Act 3 scene 2, delivering huge excitement.
The other big thrill of the evening came from Carl Tanner, who sang the role of Samson as if he was singing Wagner: this is a big man with a big voice, displaying genuine heldentenor virtues of strength, nobility and beauty of line even in the most daredevil highs. With Tanner, we felt every moment of Samson’s plight, from the moment that he sees Dalila and is aware that his weakness for her may prove his undoing, through his unsuccessful struggle to resist her charms to his despair in the final scene.
A succession of big entrance arias from the other male roles showed them to have been strongly cast: each of Nicholas Folwell (Abimelech), Christophoros Stamboglis (the Old Hebrew) and Michel de Souza (the High Priest of Dagon) made the most of the glorious lyricism of Saint-Saëns’ settings; de Souza also impressed in his exchanges with Dalila in Act II.
Sara Fulgoni’s Dalila disappointed. Her voice was so laden with vibrato that it was almost impossible to make out the underlying timbre and quite impossible to understand any of her French. Nor was the lack of vocal colour made up for by acting: the Dalila of in Act II needs to be the ultimate, irresistible seductress, and Fulgoni came well short of that standard. She has the tall and beautiful looks to pull it off, but her body language didn’t communicate enough emotion to make us believe.