'Samson et Dalila' a dazzling production
The impressive blend of strengths in Pittsburgh Opera's new production of "Samson et Dalila" reaches must-see proportions because of the spectacular debut of mezzo-soprano Stephanie Blythe in one of the title roles.
Blythe is blessed with a big and beautiful voice along with the intelligence to use it with style, passion and versatility. She made a triumphant role debut as Dalila on Friday night, the first of four performances at the Benedum Center, Downtown. Her portrayal is gorgeous vocally, psychologically astute in dramatic interactions and even includes persuasive dancing.
"Samson et Dalila" is Camille Saint Saens' first opera and his most successful. Pittsburgh Opera's production is well planned, well cast, and superbly conducted by the company's music director, Antony Walker.
The first great singing, heard right at the start of the opera, is by the chorus of Hebrews, enslaved by the Philistines and praying for mercy and deliverance. Pittsburgh Opera Chorus, a little more than 40 professional singers, sang with impressive power, exemplary internal balances and exquisite lines.
Tenor Frank Porretta made his role debut as Samson and was a strong presence. Samson is a heroic role, dramatically and in vocal expectations. Porretta was physically imposing and a vocal powerhouse in rallying the Hebrews to break their bonds and defeat the Philistine soldiers.
Whenever there is a singer of Blythe's scale onstage, the other performers are challenged to take it up a notch. Porretta, to his credit, never forced his voice too far.
Dalila makes her debut in the final scene of the first act. It included Blythe dancing alluringly with Attack Theatre dancers in the smart choreography of Peter Kope and Michelle de la Reza. Their Bacchanale in the last act sizzled.
Dalila's triumph occurs in the second act, which opened with Blythe singing ardently of her plan to use love for revenge. As she awaits a visit from Samson, the High Priest of the Philistines arrives to remind her that her people are depending on her.
Baritone Kim Josephson, as the priest, and Blythe were riveting as characters playing on each other's resentments. The ardor and vocal strength of both singers made this scene another highlight of the evening.
When Samson arrives to break it off with Dalila, she uses her genuine feelings to ensnare him, although we know from the preceding scenes she's being manipulative. Although Samson has been warned to resist Dalila, when Blythe sings "Mon coeur s'ouvre a ta voix" (My heart opens to your voice), it is Samson's heart that opens to her. He follows her into her tent. Then she calls to waiting Philistine soldiers to come capture Samson.
The Hebrews are re-enslaved at the start of the final act. The Philistine bash celebrating Samson's defeat was superbly handled by stage director Stephen Pickover.
The most spectacular moment visually in the opera occurs in the final minute, when Samson shakes two pillars lose and brings down the Philistine temple, killing everyone inside. Pittsburgh Opera's staging is a terrific solution to a scene easier to imagine than achieve in practice. It's stagecraft, not reality, of course. But Pittsburgh Opera's impressive set, which includes a huge medallion featuring the Philistines' man-fish god Dagon, comes crashing down on the full depth of the stage.
The production also benefits from superb back-wall projections of skylines in color to set the time, from day to night. Saint-Saens' score calls for thunder and lightning as a dramatic element, and some of the thunder claps were awesome.
"Samson et Dalila" is a most auspicious start to Christopher Hahn's reign as general director of Pittsburgh Opera.
Additional Information:
'Samson et Dalila'
Produced by : Pittsburgh Opera
When : 7 p.m. today, 8 p.m. Friday, 2 p.m. Sunday
Admission : $16.50 to $180.50
Where : Benedum Center, Downtown
Details : 412-456-6666
