Making a welcome foray into grand French opera, Melbourne Opera strikes gold with Samson and Delilah, confidently delivering splendid musical performances and expertly judged staging. 

Not seen in Melbourne for decades, this long overdue revival of Saint-Saëns’ Samson and Delilah is an inspired piece of programming. Centred upon star lead performers Rosario La Spina and Deborah Humble, the production boasts equally strong supporting cast, sumptuous orchestra and chorus, charming dancers, and a deliberately understated yet entirely handsome stage design. 

Wearing each of his hats with inimitable flair, Melbourne Opera Head of Music Raymond Lawrence prepares the Melbourne Opera Chorus to an exactingly high standard and conducts the Melbourne Opera Orchestra with delicate sensitivity. Nestled into the evocative stage design, the orchestra plays Saint-Saëns’ truly lovely score with an abundance of fine detail. The chorus doubles as a Greek chorus, sitting in judgement overhead, and as players in the main stage action, singing the music with a beauty all of their own. 

Director Suzanne Chaundy cuts directly to the emotional core of the work, rightly trusting the inherent passion and conflict of the opera to command the attention of a modern audience. The bold strokes of storytelling suit the grand Palais stage, the drama and romance of the opera sweeping along with compelling momentum to a thrilling climax. 

Set designer Jacob Battista uses two large pillars to suggest the grand scale of the locations, a central circular dais perfectly housing featured scenes. The roughly hewn silver paint of the pillars strikingly picks up Harry Cope’s atmospheric lighting, with wonderful use made of scrims to slowly build and diminish various scenes. 

Rose Chong uses decadent splashes of purple and gold in costumes to distinguish the status of key characters. Dressing the chorus members in shrouds of black adds to their mysterious presence. 

Chaundy’s work is ably supported by choreography from Chimene Steel-Prior. Steel-Prior frames Delilah’s first appearance with six tender priestesses, later staging a wild bacchanalia, in which impressive lead dancer Harrison Watson deftly proves himself a worthy partner for six female dancers.

After an inexplicably long absence from the local stage, Rosario La Spina gives an absolutely thrilling lead performance as ill-fated strong man Samson. From his first resounding notes, La Spina fills the cavernous Palais with glorious sound. Blessed with the rare gift to sing with stirring volume and yet still richly imbue his performance with intricate details, La Spina takes Samson to our hearts, making the third act all the more heartrending. 

In a highly auspicious role debut, accomplished mezzo-soprano Deborah Humble uses her innate emotional intelligence to deliver a nuanced characterisation of the devilish Delilah. Singing the role with a heady mix of tender beauty and dramatic heft, Humble deepens the character by moving the focus away from mere physical appeal. 

Humble is a superb partner for La Spina, with the pair’s combined work in act two providing a dazzling showcase. 

Supporting roles are filled with equally strong performers. In strong vocal form, Simon Meadows is a commanding presence as the insidious High Priest. Dispatched by Samson quite early in proceedings, Jeremy Kleeman makes a lasting impression as vainglorious governor Abimelech. Sonorous bass Eddie Muliaumaseali’i is reliably powerful as the wise Old Hebrew. 

Another generous and gratefully received blessing for local opera lovers, this new Melbourne Opera production of Samson and Delilah is a tremendous achievement that bodes extremely well for ongoing success for this much loved company. 

Samson and Delilah plays a second performance at Palais Theatre, St Kilda on Tuesday 3 June 2025. For tickets, click here.

Photos: Robin Halls