{"id":60722,"date":"2024-11-30T10:27:16","date_gmt":"2024-11-30T09:27:16","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=60722"},"modified":"2024-12-03T15:29:10","modified_gmt":"2024-12-03T14:29:10","slug":"nach-ueber-170-jahren-uraufgefuehrt","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2024\/11\/nach-ueber-170-jahren-uraufgefuehrt","title":{"rendered":"\"Samson\" premiered after more than 170 years"},"content":{"rendered":"
\"\"
Samson and Delilah. Painting by Anthonis van Dyck, 1628-1630. Kunsthistorisches Museum Vienna\/wikimedia commons<\/a><\/figcaption><\/figure>\n

It was only two years ago that the opera, completed in 1856 Samson<\/em> by the composer Joachim Raff, born in Lachen\/SZ in 1822, was premiered in Weimar. Graziella Contratto and her label Schweizer Fonogramm have now presented the more than three-hour work in a lavish, artistically remarkable studio production (recording director: Fr\u00e9d\u00e9ric Angleraux), including a trilingual libretto and detailed introductory text, as a premiere recording in collaboration with B\u00fchnen Bern and the Joachim Raff Society Lachen. It is doubtful whether the opera will be able to hold its own on stage in the future - Raff's dramaturgy is too oratorical and some scenes are too lengthy. Musically, however, this work is definitely worthwhile with its colorful instrumentation, the direct juxtaposition of masses of sound and fragility and the cantabile, demanding solo parts<\/p>\n

As Franz Liszt's assistant, Raff witnessed the world premiere of Wagner's Lohengrin<\/em> up close in Weimar, which led him to his opera Samson<\/em> inspired. The Lohengrin <\/em>can be heard not only at the end of the first act in the chorus \"Heil dem Helden von Dan\", but also in the demanding, high-lying title role. Magnus Vigilius combines lyrical mellifluousness with great radiance. In individual passages such as \"So sind zerrissen\", he lacks a little flexibility. Olena Tokar is a multi-layered Delilah, whose rich soprano voice only loses some of its balance in the dramatic high notes. With Robin Adams as Abimelech, who moves between self-confidence and despair, Christian Immler as the high priest with natural authority and Michael Weinius as Micha, Delilah's spurned lover, the good ensemble of soloists is complete.<\/p>\n

Conductor Philippe Bach works out many rewarding details with the Bern Symphony Orchestra, such as when the clarinet mocks Samson or when a Mendelssohnian lightness emerges in the flutes during the children's dance. The string accompaniment is catchy and the brass provide impressive scenic moments, such as when the high priest appears. The B\u00fchnen Bern chorus turns the people into a beautiful-sounding community that is ready to escalate at any time, and one can also be afraid of them.<\/p>\n

\"\"Joachim Raff: Samson, music drama in three sections, libretto by the composer, first recording. Magnus Vigilius, Olena Tokar, Robin Adams, Christian Immler, Michael Weinius, Berner Symphonieorchester, Chor der B\u00fchnen Bern, musical director Philippe Bach. <\/em>3 CDs, Swiss Fonogram. <\/em><\/p>","protected":false},"excerpt":{"rendered":"

Joachim Raff's opera \"Samson\" was performed for the first time on the 200th anniversary of his birth. 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