For all the physical spectacle associated with the phrase “grand opera,” what truly makes an opera grand is the sometimes amazing things mere human beings can achieve with their voices.
Tulsa Opera’s production of “Samson and Delilah,” which opens Friday, certainly supplies the physical spectacle, with masses of people filling the Tulsa PAC’s Chapman Music Hall stage, and a climax in which the walls come a-tumblin’ down in a most effective way.
But where this show truly delivers — to judge from the dress rehearsal performance Wednesday night — is in the spectacular vocal artistry of the cast.
Artistic director Kostis Protopapas has put together an ensemble of some of Tulsa Opera’s favorite performers (of the eight major roles in this production, only one is filled by someone making his company debut — Zack Rabin as Abimelech), headlined by Frank Porretta and Dana Beth Miller in the title roles.
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The real revelation here is Miller as Delilah. This is her first time to sing this role, but her performance Wednesday had a depth, complexity and richness that made one think she’s been playing this role for years.
Miller embodies the many moods of Delilah with an impressive range of tonal colors and adroit phrasing — the plummy sweetness she uses to capture Samson’s attention initially in “Printemps qui commence,” the harsh, bitter tone and whipcrack phrasing as she contemplates wreaking vengeance in “Amour! viens aider ma faiblesse”; the deft shift from coquettish seduction to tearful rage in “Mon cœur s’ouvre à ta voix,” as she toys and manipulates and cajoles Samson to reveal the secret of his strength.
By contrast, Porretta’s approach to Samson is more direct — he’s a man of faith and action, and Porretta’s ringing tenor is well-suited to stirring up his downcast people in “Arrêtez, ô mes frères” and challenging Philistines to battle.
Yet when he finds himself succumbing to Delilah’s treacherous charms, the way Porretta allows his voice to break ever so slightly the first time he says “Je t’aime” is an almost heart-stopping moment. And the despair Porretta calls up in the dungeon scene is especially poignant.
Peter Lindskoog is a superb High Priest, giving this devilish character more than his due with a clear, clarion sound that made this villain almost seductively appealing.
Samuel Ramey, last seen on a Tulsa Opera stage in 1987’s “Don Carlo,” was memorable in the brief role of the Old Hebrew, warning Samson of Delilah.
Director Crystal Manich stages the action deftly — the opening scene of the Hebrews mourning their lot and Samson’s efforts to rally them to rebellion has a kind of visual poetry.
She also has added a novel, yet effective twist, expanding the role of the Boy (alternately played by Emma Greenaway and Mia Owens) who usually leads Samson around after he’s been barbered and blinded so that this child becomes a symbol of the presence of God.
Lyndon Meyer prepared the chorus, made up of the Tulsa Opera Chorus and the Tulsa Oratorio Chorus, which performed admirably, whether as mourning Hebrews or hedonistic Philistines.
Helena Kuukka’s lighting design ably augmented the drama. Jen Alden created the choreography, performed by members of Portico Dans Theatre (the extended Bacchanal dance sequence dragged noticeably in the middle, as the choreography grew repetitive, although the final “sacrificial” section was effective).
Protopapas conducted the Tulsa Opera Orchestra is a finely textured, expressive performance that ranged from gossamer delicacy to almighty thunder, with perfect tempos and balance.
It’s the sort of performance Tulsa Opera audiences have come to expect from Protopapas, who is conducting his final shows as the company’s artistic director.
If “Samson and Delilah” is his valedictory performance, it was a most impressive one.
“Samson and Delilah” has performances 7:30 p.m. Friday and 2:30 p.m. Sunday at the Tulsa PAC, 101 E. Third St. For tickets: 918-596-7111, myticketoffice.com.