Rediscovering a Lost Masterpiece: Joachim Raff’s ‘Samson’ Unveiled in a Groundbreaking Premiere Recording

A significant moment in operatic history has arrived with the premiere recording of Joachim Raff’s monumental five-act Musikdrama, Samson. Composed between 1851 and 1858, Raff’s ambitious work predates Camille Saint-Saëns’s renowned “Samson et Dalila” by a decade, yet remained unperformed for over 170 years. This groundbreaking new album from Schweizer Fonogramm, released as a 3-CD set, finally brings Raff’s unique vision to a global audience, challenging long-held perceptions of the Swiss-born composer primarily known for his instrumental oeuvre. [Initial Context, 1, 3, 5, 6, 9, 11]

A Composer Reappraised: Joachim Raff and His Operatic Vision

Joachim Raff (1822-1882), a self-taught musical talent, rose to prominence as Franz Liszt’s assistant in Weimar, where he witnessed the 1850 premiere of Wagner’s Lohengrin. Profoundly influenced by Wagnerian music drama, Raff nevertheless forged his own path, as evidenced in his critical essay “The Wagner Question” (1854), where he articulated a distinct position between the “New German School” and traditionalists. His Samson is a testament to this individualistic approach. While adopting Wagnerian declamation and grand orchestral colors, it also incorporates elements of French Grand Opéra, notably in its form and the inclusion of ballet scenes.

Raff’s libretto, which he meticulously crafted himself based on historical and archaeological research, presents the biblical story from the Book of Judges (Chapters 13-16) not as a purely religious drama, but as a deeply human tragedy of love, betrayal, and political maneuvering. Unlike Saint-Saëns’s later treatment, Raff’s Samson delves into the psychological complexities of its characters, depicting Samson as a conciliatory conqueror undone by generosity and Delilah as navigating a tricky emotional landscape of love, shame, and anger. Remarkably, Raff’s Samson struggles to utter the word “God” even in his deepest agony, underscoring the work’s focus on earthly, political, and human dimensions rather than metaphysics.

The Long-Awaited Premiere and Recording Genesis

The reasons for Samson‘s prolonged obscurity are complex. Despite Raff’s efforts, the opera failed to reach the stage during his lifetime, notably after the successful Weimar premiere of Saint-Saëns’s rival work in 1877. The world premiere of Raff’s Samson finally took place in Weimar on September 11, 2022, marking the bicentenary of his birth. This historic event was followed by the Swiss premiere in Bern in 2023, which served as the culmination of the two-week studio recording sessions for this latest album.

Produced by Schweizer Fonogramm under the artistic direction of Frédéric Angleraux (ADCSound) and producer Graziella Contratto, this recording is a collaborative effort involving Bühnen Bern, Radio SRF2 Kultur, the Joachim Raff Society, and Edition Nordstern. The recording sessions, held in August/September 2023 at the Stadttheater Bern, have yielded a superb sonic experience, noted for its splendid, realistic sound and natural concert hall ambiance.

A Stirring Performance: Voices and Orchestra

Under the galvanizing baton of conductor Philippe Bach, the Bern Symphony Orchestra and Chor der Bühnen Bern deliver a thoroughly prepared and excellent performance. Bach is praised for his deep engagement with the music, energizing the score with distinction and maintaining dramatic integrity across the expansive five acts.

The international cast brings Raff’s characters to life: Magnus Vigilius portrays Samson with a heroic, commanding tenor, evolving to a more lyric quality as the opera progresses, despite some noted intonation challenges. Oleh Tokar (credited as Olena Tokar in some sources) embodies Delilah, navigating her complex emotional journey with fine expression. Baritone Robin Adams, stepping into the crucial role of Abimelech on very short notice, delivers a tremendously effective performance, bringing natural gravitas and an increasing turbulence to the character, showcasing his remarkable adaptability. Christian Immler, arguably the most well-known singer in the cast, offers an intractable and commanding portrayal of the High Priest, a role Raff renders with more dimensionality than Saint-Saëns. Michael Weinius provides a well-differentiated tenor as Micha, Delilah’s vengeful suitor.

Setting the Standard: The Production and its Value

Beyond the musical performances, the Schweizer Fonogramm release is exceptionally well-documented. It includes two lavish booklets with highly informative essays, including one by Raff expert Volker Tosta, and a full libretto in German, English, and French. This comprehensive package enhances the listener’s experience, providing crucial context for a work that has been largely unheard for centuries. Such meticulous attention to detail sets a high standard for album reviews in the classical music world.

Conclusion: A Significant Addition to the Repertoire

This premiere recording of Joachim Raff’s Samson is far more than a mere historical curiosity; it is a vital addition to the operatic repertoire. It unequivocally establishes Raff not just as a master of instrumental music, but as a significant opera composer whose dramatic and psychological insights were ahead of his time. While not destined to overshadow Saint-Saëns’s ubiquitous work, Raff’s Samson stands on its own merits as a compelling and richly textured Musikdrama. For those following the latest reviews in classical music, or seeking new and historically significant album reviews, this release is an essential listen. Its re-discovery promises to enrich our understanding of 19th-century opera and Raff’s rightful place within it, proving that sometimes the greatest discoveries are those that have been waiting patiently for over a century.