Samson

For Handel’s audiences, the great novelty of his oratorio Samson (1741-42) was the casting of a tenor in the title role—in opera, heroic male parts were generally sung by castrati. With the leading part safely assigned to the popular English tenor John Beard, success was assured, despite the work’s excessive length and the rather static nature of the action. The libretto, based on Milton’s dramatic poem Samson Agonistes (1671), follows the last day in the life of the noble Hebrew warrior: seduced by Dalila into revealing the secret of his strength, then blinded and imprisoned by the Philistines, but destined for one final, clinching victory. Much of the action revolves around clashes between Samson, his Israelite followers and the Philistines, culminating in Samson’s destruction of their temple. Handel’s choruses vividly characterise the two opposing nations: the Philistines are brassy and hedonistic, while the Israelites take the high ground—more contrapuntal and dignified. One of the emotional highlights is Samson’s aria “Total eclipse”, a masterpiece of concision, employing the simplest musical means to convey the blind Samson’s desolation. It gained added poignancy in revivals after 1753, when Handel had himself lost his sight. At the other end of the spectrum, “Let the bright Seraphim” is a glittering showpiece for soprano and trumpet which helps bring the work to a triumphant conclusion.