Sunday19th March 2017
Samson et Dalila
Concert performance sung in French with English surtitles.
With an abundance of melody, skilled choral writing and polished orchestration, it is hard to equal Samson et Dalila. Originally conceived as an oratorio, it is ideally suited to concert performance. The plot is based on the well-known biblical story in the Book of Judges. It took a long while for it to be produced as an opera because of restrictions on staging biblical subjects. But by the time the composer died it had been performed more than 500 times. Saint-Saëns regarded this grand opera as his masterpiece. More...
The performance will be conducted by Matthew Scott Rogers. The cast includes Aaron Cawley (Samson), Claudia Huckle (Dalila), Michel de Souza (High Priest), Nicholas Folwell (Abimélech) and Jihoon Kim (Old Hebrew). Further details of the cast will appear in due course.
Michael Steen will give a pre-performance talk for ticket holders at 5.45pm.
Tickets for the concert can be obtained from Cadogan Hall.
♫The Cimbasso – clarity for Verdi's low brass♫
A number of people in our audience have asked about the strange instrument which sometimes appears at the end of the trombone section.
'The Chelsea Opera Group holds a unique place in the history of British opera. ....' (&London magazine). Read the full article (pdf)which appeared in the Spring 2014 issue of &London magazine produced by Sunday Publishing for UK property partnership Strutt and Parker.
‘Chelsea Opera Group’s three concert performances a year are among London’s most joyful operatic events.’ Richard Nicholson at Classical Source
"As for Elizabeth Woods, it is hard to provide a technical commentary to her nigh-on-perfect performance." (Mariana Romani reviewing Simon Boccanegra at MusicalCriticism.com). See Elizabeth Woods in Come in quest`ora bruna.
"Opera simply does not come much better
than this: the Chelsea Opera Group’s concert performance
of Verdi’s Macbeth was an unqualified triumph." (Evan Dickerson at Seen
‘A great work superbly done. The conductor was Richard Bonynge...There was fine playing and choral singing.’ Tim Ashley in The Guardian reviewing COG’s performance of Donizetti’s Belisario.
For forthcoming performances see Future Concerts
For booking information see Box Office page
For links to complete reviews of recent
performances see Reviews.