Customer Reviews

Handel: Samson

5 star:		(4)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

No offense to the gentleman from Milan who's review follows mine, but there is a GREAT, GREAT deal more to SAMSON than "Let The Bright Seraphim." Judging this important, extensive recording by one aria is as ridiculous and short-sighted as dismissing Lawrence of Arabia or Bridge Over The River Kwai in their entirety because one scene was not as thrilling or masterful as the others. This is sublime Handel with a roster of singers than can hardly be improved upon. Granted this is not a period instrument performance and I, for one, am grateful for that. Personally, I've grown weary of the anemic, metallic sound that is often associated with period instrument ensemble recordings. This recording is, however, relatively a "period" performance in the sense that both orchestra (English Chamber Orchestra) and chorus (London Voices, directed by Terry Edwards) are of moderate size, brilliantly and passionately conducted by a true Baroque authority, the great Raymond Leppard. There is simply no finer recording of this masterpiece currently available and, frankly, I doubt there will be one for some time to come. The Harry Christophers recording on Collins with his ensemble, The Sixteen, is more in keeping with contemporary views and attitudes regarding the performance of baroque music (read authentic, period instrument) and it definitely has it's merits, but it hardly topples Leppard's recording from it's lofty perch. By go the Hanoncourt recording at all costs; it is a dull reading and truncated, to boot.

This is sublime Handel with a roster of singers than can hardly be improvedupon. Granted this is not a period instrument performance and I, for one, amgrateful for that. Personally, I've grown weary of the anemic, metallic sound that is often associated with period instrument ensemble recordings. This recording is, however, relatively a "period" performance in the sense that both orchestra (English Chamber Orchestra) and chorus (London Voices, directed by Terry Edwards) are of moderate size, brilliantly and passionately conducted by a true Baroque authority, the great Raymond Leppard. There is simply no finer recording of this masterpiece currently available and, frankly, I doubt there will be one for some time to come. The Harry Christophers recording on Collins with his ensemble, The Sixteen, is more in keeping with contemporary views and attitudes regarding the performance of baroque music (read authentic, period instrument) and it definitely has it's merits, but it hardly topples Leppard's recording from it's lofty perch.

There are not many full-length recordings of this Handel Oratorio out there, and even fewer live performances these days in this irreligious age, so I committed to this version, simply due to the reknown of the performers, people like Tear, Baker, Langridge, Watts, most of whom I had heard perform live in the 70s and 80s. I was not disappointed - under the direction of the incomparable Raymond Leppard, one of my student icons, the work unfolded in glorious procession. Tracing the Old Testament narrative of Samson in more operatic style than Oratorio, Handel makes use of all his mature skills, to treat the ears to a feast of polyphonic sound which will give Baroque afficcionados years of lasting pleasure. The rightly-feted contralto "Return, O God of Hosts," with its never-played choral conclusion will be played many, many times once you have bought this work - you will find yourself singing it to yourself on many occasions. The only reservation I had was that the performance standard is decades old, and some people may find it old-fashioned. That having been taken into consideration, I find myself listening to it every day, and will soon be as familiar with it as I am with "Messiah."

"An oratorio is a room for prayer. It is also a sacred alternative to opera..." (Peter Conrad from "A Song of Love and Death".)

Well, some oratorios, at least. When Handel abandoned opera in 1741, he composed oratorios about Jupiter's mistress ("Semele") and Greek demigods ("Hercules") as well as a rich assortment of Old Testament characters. Samson's original story can be read in chapters 13 to 16 of the Book of Judges, but the libretto for Handel's oratorio is mainly fashioned from Milton's poem, "Samson Agonistes" (1671). It begins with its hero already blinded and enslaved to the Philistines. There are characters who are either not to be found in Judges, or who have been `rearranged' by Milton, e.g. Samson's father, Manoah (in the Bible, Manoah was long-deceased when Samson was brought low by Delilah). Delilah and Samson are married in Milton's poem. Harapha, the giant of Gath appears in Milton/Handel to taunt and challenge the blind Samson, but not in Judges. Micah, Samson's friend and confessor is also Milton's creation, and Handel expanded on this particular role to suit a contralto he had met in Ireland.

There are many beautiful prayers in "Samson," most especially Micah's "Return, oh God of hosts! Behold thy servant in distress!" But the sacred music is intertwined with Handelian trumpets, pagan festivals, and thunderous interchanges between Samson and Delilah ("Traitor/Traitress to love!"), Harapha and Samson ("Presume not on thy God"), and a choral duel between the Israelites ("Jehovah!") and the Philistines ("Great Dagon!").

And, of course there is the somber `Dead March' as Samson's body is brought back on-stage, followed by the brilliant soprano aria, "Let the bright Seraphim." This oratorio has got everything.

All nine soloists offer abundant charm and intelligence in their arias. One of my favorites, Dame Janet Baker trills sweetly of turtledoves, and rages over traitors to love. I don't know if the part of Delilah could be more seductively sung. It's hard to believe that tenor, Robert Tear as Samson didn't yield to Dame Janet's blandishments a second time.

Bass Benjamin Luxon never exaggerates Harapha's bluster. In fact, I prefer his Giant of Gath to Bryn Terfel's less technically-polished version on his CD of Handel arias.

John Shirley-Quirk, singing the bass role of Manoah will melt your heart with the E major aria "How willing my paternal love" as his son is about to bring down the temple and die off-stage.

In 1743, "Samson" was more successful in London than the "Messiah." If you listen to Raymond Leppard's recording of "Samson" with its pathos and grandeur perfectly balanced between the orchestra and singers, you will understand why this sacred oratorio outperformed "Messiah" during the year when they were first introduced to the London public. I would love to see this oratorio re-staged as an opera (although not with Samson portrayed as a suicide bomber, as was done in Victoria, Canada in 2007).

The only fault I can find with this three-CD set from Erato is that the insert wasn't put together very well. There are omissions in the English text; the duet "Go, baffled coward, go/ Presume not on thy God" is NOT sung by Samson and a Virgin (at least, I don't think Harapha was a virgin); and there is absolutely no information about the soloists, except for a list of their names.

Samson is not one of my favourite Handel oratorios (probably because I haven't heard a truly 'wonderful' version yet), but does contain some great music nevertheless (Total Eclipse, With Plaintive Notes, Thy Glorious Deeds, and of course, the justifiably famous Let The Bright Seraphim).
This particular version is painful to say the least, sounding as though it is performed by residents of a rest-home on their last legs!! The tempi are painfully slow and clumsily played with little attention to expression and clarity or musicality, also the soloists fit this description - typically 'old school' as another reviewer commented. The one exception is Felicity Lott whose bright, clear and strong voice was a welcome relief at the end - like a cold shower, or bolt of lightning before being slowly tortured to death by music, terribly performed, in the final chorus (FAR FAR FARRRRR too slow!!)
For 'old school' enthusiasts you will probably love it, but if you appreciate clear, precise, musical, expressive performances with attention to detail and bright, stunning singing, go for the 16 recording with Christophers. Unfortunately his choice of Samson I find is not at all to my taste (Thos Randle) and I'm fast tiring of Lynne Dawson's rather heavy voice with strained upper range, but Lynda Russell does a commendable job (With Plaintive Notes is performed exquisitely) and the playing of the ensemble and choral singing is virtually faultless. Compare the two choirs, and this alone will sway you! Awake The Trumpets Lofty Sound is fantastic with Christophers, and will certainly wake you up! (rather than put you to sleep as with Leppard!) and the same can be said for the other choral interludes.
I would MUCH rather have Anthony Rolfe Johnson as Samson, (he IS wonderful) but the Harnoncourt just cannot compete with Christophers for the playing and choral singing, although his soloists are all very nice.
I would have to recommend Christophers over the others for the reasons stated, but listen for yourself!

Handel: Samson is a recording under the direction of Raymond Leppard who leads the English Chamber Orchestra on this Erato Disques recording from 1980. We also get to hear the London Voices under the direction of Terry Edwards. The booklet contains 83 pages. The liner-notes have been written by Marc Vignal and are both informative and interesting to read. The lyrics are available in English, French and German. Highly recommended. 5/5.

This is a powerful performance-very dramatic-led by an assertive Robert Tear in the title role. The performance is ably complemented by the other stellar soloists. I prefer the lighter more agile Seraphim as performed by Felicity Lott. The orchestral playing has the heft needed for the drama which would not be provided by period instruments. This is the Samson to have.

Having heard the great diva Dame Joan Sutherland sing "Let the bright Seraphim", the soprano here sound thin and simple. Buy Sutherland's cd "The Art of the Prima Donna", and get really to be dumbfounded by Sutherland's trumpet-like voice and perfect technique.