Of Camille Saint-Saëns’s thirteen operas, only his Samson et Dalila remains part of the repertory. Yet it’s not often performed outside London and rarely appears at country house settings. Dorset Opera’s first ever presentation of the work at Bryanstone School’s Coade Theatre was, therefore, highly welcome.
For its biblical tale of sacrificial heroism, betrayal and cathartic vengeance, the composer draws on the Old Testament’s Book of Judges. The ancient conflict between the Hebrews and Philistines in Canaan culminates in Samson’s destruction of the Temple of Dagon following the loss of his hair by the seductress Dalilah and the miraculous recovery of his physical powers.
We hardly need to be reminded of the ongoing conflict raging in the Middle East, so Director Paul Carr prudently situates the opera in an anywhere location, while set designer Rufus Martin creates a partially destroyed church as an atmospheric and politically neutral backdrop. Only in the last Act do the ruins of the building become the walls of the Temple of the Philistines which, in a moment we’ve all been waiting for, collapse during the work’s dramatic closing bars. There’s nothing specific or time- related about Libby Watson’s eye-catching costumes which traverse the ages without attempting to bring stylistic continuity. Occurring intermittently is a crimson-coloured rope, intended to signify ties of bondage that ensnare Samson, both as a prisoner of the Philistines and a victim of his desire for Dalila. In many ways it’s a redundant symbol but creates opportunities for movement with the rope on an otherwise empty stage.
Aside from circling around any specific time and place, Dorset Opera’s Samson et Dalila succeeds on the strength of its casting. Indeed, chorus, orchestra and principals are all impressive. The role of Samson requires a charismatic presence and a sonorous voice. In South Korean tenor Won Whi Choi (here making his UK debut), we had a voice of real stature, but his bravura tones, stirring as they were, didn’t quite remove a stolid stage presence. He was at his most convincing during his Act 3 lament “Vois ma misère, helas”, a poignant aria bemoaning his fate, where he displayed some genuine emotion. Earlier, it was difficult to believe he had any real longing for Dalila or why he had attracted such a following amongst the Hebrews, notwithstanding his rousing and heroic “Arrêtez, ô mes frères” in Act 1.
Mae Heydorn’s manipulative Dalila was another matter, her creamy mezzo wonderfully fulsome and able to project her smouldering lower register with ease. Her upper voice held no fears for her either. In Act 1 her “Printemps qui commence” seduced the ear with its yearning (her bare ankles obvious to the audience if not necessarily to Samson), while the sensual “Mon cœur s’ouvre à ta voix” managed to allure both us and Samson with a fine sense of line and gathering momentum that could melt the stoniest of hearts.
As the High Priest of Dagon, Alexey Gusev brought suitably dark hued tones to his bass-baritone and imparted plenty of malevolence (those red shoes a somewhat comical incarnation of evil) while enjoying every moment of his Act 2 conspiracy with Dalila. No less disturbing was Jonathan Eyers as Abimélech, his brief appearance stalking the stage in Act 1 created a memorable impression. Last, but not least among the main cast was Aidan Smith as the Spiritual Elder whose cautionary pleas to Samson go unheeded.
A word should be mentioned of the excellent Dorset Opera Festival Chorus whose role is crucial in an opera that can feel more like an oratorio. The opening choral episode was thrilling, where the chorus was in glorious voice and allied to a sense of despair amongst the defeated Hebrews. Their disciplined ensemble made light of the Handelian fugue, where fervour of expression was uppermost. The Bacchanale provided plenty of movement for the chorus with Alicia Frost’s choreography suggesting martial arts overtones, though any sense of erotic abandonment was kept in check.
Meanwhile, Jeremy Carnall’s efficient direction in the pit drew vivid playing from the Dorset Opera Festival Orchestra, underlining the composer’s rich orchestral colouring with an expert ear for balance and tempi. Altogether, an evening of strong musical performances that were a credit to this enterprising festival.
David Truslove
Samson et Dalila
Music: Camille Saint Saëns
Libretto: Ferdinand Lemaire sung in French with English surtitles.
Cast and Production Staff:
Samson – Won Whi Choi; Dalila – Mae Heydorn; High Priest of Dagon – Alexey Gusev; Abimélech – Jonathan Eyers; First Philistine – Alex Hutton; Second Philistine – Sam Weakley; Philistine Messsenger – Jamie Formoy; Spiritual Elder – Aidan Smith, Child – Jules Malfait
Director – Paul Carr; Designer – Rufus Martin; Costumes – Libby Watson; Lighting – James Smith; Chorus Master – Stephen Harris; Dorset Opera Festival Chorus; Dorset Opera Festival Orchestra.; Conductor – Jeremy Carnall
Coade Theatre, Bryanston School, Dorset, 22 July 2026
All photos © Julian Guidera
Facts Only
* The opera is based on the Book of Judges in the Old Testament.
* Samson’s story involves conflict between the Hebrews and Philistines.
* The setting utilized a partially destroyed church, which later became the walls of the Temple of the Philistines.
* Libby Watson’s costumes traversed ages without stylistic continuity.
* A crimson-coloured rope symbolized bondage for Samson.
* Won Whi Choi performed the role of Samson.
* Mae Heydorn performed the role of Dalila.
* Alexey Gusev played the High Priest of Dagon.
* Jonathan Eyers played Abimélech.
* Aidan Smith played the Spiritual Elder.
* The Dorset Opera Festival Chorus performed choral episodes.
* Jeremy Carnall conducted the performance.
* The event took place at the Coade Theatre, Bryanstone School, Dorset, on July 22, 2026.
Executive Summary
Full Take
Sentinel — Human
This text reads like a human-written, critical review focusing on the musical performance and staging of an opera, supported by specific character and ensemble observations.