Samson & Delilah (Melbourne Opera), at the Palais Theatre - 2 hours 20 minutes, including interval

A portent of doom hangs over Melbourne Opera’s production of Samson & Delilah.

It is largely dark and foreboding (lighting design is by Harry Cope), a pointed reference to the story that underpins it.

The tale is that of strong man Samson, whose strength is a gift from God.

Enslaved Hebrews are praying for deliverance from their captors, the tyrannical Philistines.

Photos by Robin Halls

Samson takes up the charge and slays the governor of Gaza, Abimelech.

The High Priest of Dagon (Dagon being an ancient god of fertility, grain and prosperity) is outraged.

He vows revenge, as the Hebrews destroy the harvest in the fields.

Leading the charge for vengeance is his daughter, Delilah, whose charms Samson cannot resist.

That is despite some timely words of warning from an old Hebrew man.

But her lure remains overpowering and when Samson declares his love for her, not once, but four times, she is still not satisfied.

To prove his devotion to her, she implores him to tell her the secret of his strength.

Although he at first resists, he eventually succumbs, revealing it to be his long flowing locks.

Immediately, he is betrayed and Delilah and the High Priest take full advantage of the situation.

Samson is tortured and humiliated.

With no sight and no strength, it becomes a question of how Samson can make amends for betraying his commitment to God and the Hebrews.

Unfolding in French with English surtitles, Camille Saint-Saens’ Samson & Delilah is a captivating, moody portrait of evil and desire, informed by Ferdinand Lemaire’s libretto.

Minimalist staging (the set design is by Jacob Battista) enables the focus to remain on the vocalisation and expression of the leads.

The Melbourne Opera chorus is frequently positioned above the orchestra, conducted by Raymond Lawrence, at the back of the stage.

In the foreground are twin “runways” (stage left and right), leading to a round central platform tilted toward the audience. Immediate behind are two substantial columns.

With passion and conviction, tenor Rosario La Spina is a commanding presence throughout as Samson, a man driven by carnal need and, subsequently, by guilt.

Mezzo soprano Deborah Humble is crisp and clear. She excels as the ultimate temptress, the devious Delilah.

Soaring with contempt are baritone Simon Meadows as the High Priest and bass-baritone Jeremy Kleeman as Abimelech, as they prowl and scowl.

I can never get enough of magnificent bass Eddie Muliaumaseali’I, here cast as the authoritative Old Hebrew.

Six dancing handmaidens lighten the load before interval.

They are joined after the break by a buff, shirtless Harrison Watson as the deity worshipped by the Philistines as they rejoice in Samson’s downfall.

Fine choreography is the work of Chimene Steel-Prior.

Rose Chong’s costuming well reflects the simplicity of the Hebrews and the ostentatiousness of the enemy.

First performed in a German translation in Weimar at the end of 1877, director Suzanne Chaundry has ensured the salutary lesson about human nature remains emotion charged.

Melbourne Opera's memorable production of Samson & Delilah is on again at the Palais Theatre on 3rd June, 2025.