Union Avenue Opera delivers bold ‘Samson et Dalila’ with exceptional vocals and contemporary choreography

In the 15 or so minutes between the introduction of the two title characters in Union Avenue Opera’s Samson et Dalila, audience anticipation is both heightened and steadied by the pristine harmonies of the ensemble. The biblical story is familiar. But as the Israelites celebrate their uprising against the Philistines in the lengthy opening scene, there is still an element of suspense in how the drama unfolds in opera form.

Director Kathryn Frady leans into that tension with modern elements that give Charles Camille Saint-Saëns’ nearly 150-year-old work a contemporary undercurrent — particularly through the integration of modern dance. Union Avenue Opera’s visually rich and vocally commanding staging relied on harmony, movement and color to elevate a work that often stretches longer than it needs to. Even with its extended pacing, the company delivered a striking performance anchored by standout vocals from its two leads.

Jonny Kaufman’s Samson cuts an imposing figure. His rich tenor carried the role with clarity and strength, especially in the final scenes of the opera. Melody Wilson’s Dalila is equally impressive. Her mezzo-soprano possesses a lower register that gives one pause — rich without sacrificing clarity. When she moves higher, the tone stretches upward with fullness, allowing her to shift from intimate to commanding without losing control.

Wilson shaped “Mon cœur s’ouvre à ta voix” into a moment that held the audience still. She balanced warmth and calculation in a way that made the aria feel both intimate and strategic — a reminder of why the role remains one of the most demanding in the mezzo-soprano repertoire.

Kaufman matched her intensity. His vocal stamina held through the opera’s length, and his confrontation with Eliam Ramos’ High Priest showed an established strength. Ramos, in his Union Avenue Opera debut, delivered each entrance with authority. His voice captured the tug-of-war between power and manipulation. His scenes with Wilson were among the production’s most compelling because of the precision in their vocal interplay.

The ensemble offered strong harmonic support throughout. Their choral moments added depth. The balance between voices and orchestra remained steady, allowing delicate passages in the score to stick without being overshadowed.

Union Avenue Opera’s staging choices — especially the integration of modern dance — gave the production a fresh dimension. The choreography added motion to scenes that traditionally rely on static displays, helping maintain visual interest during slower stretches. It also bridged the classical score and contemporary sensibilities. Dancers moved through multiple scenes as extensions of the score, creating visual rhythms that softened transitions between acts. At times the sequences ran long, but they added a contemporary texture without overshadowing the music.

Teresa Doggett’s costuming played a significant role in defining the emotional landscape. The palette shifted from earth tones to jewel-bright fabrics as the story moved from Samson’s defiance to Dalila’s seduction and betrayal. The colors offered clarity even when the pacing slowed.

While Samson et Dalila is a work that can feel longer than necessary, Union Avenue Opera’s production made a convincing case for its enduring appeal. The company leaned into the opera’s strengths — its arias, harmonies and dramatic confrontations — and supported them with thoughtful staging and bold visual choices.

The voices, paired with the production’s color, movement and ensemble work, made Samson et Dalila a compelling finale for Union Avenue Opera’s 2026 season.

Union Avenue Opera’s presentation of Samson et Dalila continues through Saturday, August 22 at 733 N. Union. For tickets and more information, visit unionavenue.org.

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