Review by JJ May 8, 2009 (4 of 5 found this review helpful)
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Samson, which is one of Handel’s last religious oratorios, is in three acts, and was first performed in London in February 1743. “For this work,” states Raphaël Legrand, “Handel borrowed much from others (namely, Telemann, T. Muffat, Legrenzi, Carissimi) and effectively transformed many motifs by Numinor de Giovanni Porta that he heard in London in 1720, which greatly inspired him. Propelled by the success of John Beard, whose great musicality surpassed his less than great voice, and impacting the future of the English oratorio, Handel innovated by attributing the lead role to a tenor (Italian operas privileged the voices of castrates and women).” The new production presented here, recorded in June 2006, is quite simply dazzling. Driven by Nicolas Mc Gegan’s conducting that is supple, profound and light all at once, it offers beauty at each instant, most notably in its highly homogeneous chorus, and in its two leads, Thomas Colley in the role of Samson and Sopie Daneman as Dalila, who deploy extraordinary emotion. The rest of the cast must also be commended for great balance in a fluid and serene musical discourse. This is quite an accomplishment in a wonderful sound recording.
Jean-Jacques Millo Translation Lawrence Schulman
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