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The director, Darko Tresnjak, embraces the works orientalist camp and labors mightily to save it from self-importance.
Samson has a superpowerful mullet, Dalila a sunken den, lit in shades of mauve and teal.
The Jews get solemnity, resentment, and baggy white garb.
The Met supplied them all without apparently breaking a sweat.
The orchestra and chorus shone with reliable brilliance.
He is at his best in Act Two, when his still-seductive voice intertwines with Garancas Dalila.
But then if youre looking for deep characterization, youre at the wrong opera, anyway.
