REVIEW BY Geoff Porter

The rousing sound of two natural trumpets was heard in ‘Awake the Trumpet’s Lofty Sound’, the opening chorus of Handel’s ‘Samson’, performed by Portsmouth Choral Union and The Consort of Twelve, as part of The Festival of Chichester.

The part of blind Samson was sung by Kieran White, whose clear, tenor voice was shown to advantage in the famous aria, ‘Total Eclipse’. Here he held the good-sized audience spellbound, especially as Handel himself was beginning to lose his sight at the time of writing this piece.

The large chorus, conducted by David Gostick, sang with well-rehearsed conviction, with good attack and clear dynamics.

Samson’s friend, Micah, was sung by the mezzo - soprano, Emma Watkinson, who delighted the audience with her rich tone and exceptional range. The long runs of notes in her part were well controlled and carefully managed.

Dalila, Samson’s wife, was the soprano, Charlotte Bowden, whose top notes rang out beautifully in the acoustic of St. Paul’s Church. The evening summer sun shone down through the lattice windows of this lovely church, creating a warm glow to the proceedings.

The continuo players, Lynden Cranham, cello and Sue Graham Smith, harpsichord provided subtle and supportive playing for the soloists throughout.

After the interval, we met Harapha, a Giant of Gath, dramatically sung by the bass baritone, Tristan Hambleton. His rich tones were enjoyed in ‘Honour and Arms’, whilst his duet with Samson was skilfully managed by both singers.

The chorus created a thrilling, harmonious sound in the six – part chorus, ‘Hear, Jacob’s God’, whilst in ‘Fix’d In His Everlasting Seat’, the trumpets and timpani made the chorus staccato chords even more effective.

‘To Fame Immortal Go’ and ‘Great Dagon has Subdued Our Foe’ were particularly exciting choruses, the latter with its effective fugal entries.

The messenger was sung by a member of the chorus who played his important role with conviction and confidence.

Timpani and two recorders, beautifully played by the baroque oboists, were used in The Dead March from ‘Saul’.

‘Let the Bright Seraphim’ was effectively sung by Charlotte Bowden and ‘Let Their Celestial Concerts All Unite’, included the two trumpets, adding brilliance to the final chorus.

The Consort of Twelve accompanied the oratorio with enthusiasm and admirable support for both chorus and soloists.

David Gostick and PCU can now add ‘Samson’ to their growing list of successful Handel performances and they have an innovative programme arranged for the rest of the year and into 2027.

Geoff Porter