Saint-Saëns wrote a dozen operas, all except one of which have vanished without trace.

The exception is Samson et Dalila (1877), which has remained in the repertory mainly because it’s full of beautiful music and is a perfect vehicle for two star singers. (It actually flopped when first performed and wasn’t performed again for some thirty years, in part also because its biblical story was viewed as wholly unsuitable in many opera houses.)

(Samson) SeokJong Baek Samson et Dalila ROH © 2022 ROH. Photograph by Clive Barda-260 adj

SeokJong Baek as Samson

It’s not been seen at Covent Garden since 2004 — but to judge from this new production, it will be back very soon.

You don’t often see a performance that is flawless, but this is just that.
To start with the singing: South Korean tenor SeokJong Baek is sensational in his ROH debut.

His top notes ping beautifully and the whole register is a joy to hear. His French is mellifluous — and he can even act! He reminds me of Jon Vickers, but without that great singer’s sense of strain.

We will hear more of SeokJong Baek (I can’t wait to hear him sing Otello).
Latvian Elina Garanca’s quality is well known — she is one of the world’s finest mezzos. She has it all — a sensual, perfect voice and a riveting stage presence. Together, there is real chemistry and Act 2, when she seduces Samson to reveal the secret behind his strength, is riveting.

It’s a small but perfectly cast ensemble, with world class singing from everyone including Goderdzi Janelidze as the Rabbi and Lukasz Golinski as the High Priest).

Even more beautiful than the singing is the orchestra, shimmering under Antonio Pappano, with the panache and sheen of one of a great orchestra.

And — mazeltov! — Richard Jones’s production is respectful and enlightening, the characters well drawn and the drama gripping.

Samson et Dalila is not, really, a masterpiece – but on its own terms it is first rate, and the joy of this production is that you go away thinking it is indeed a masterpiece.