Samson (HWV 57) is a three-act oratorio by George Frideric Handel, considered to be one of his finest dramatic works. It is usually performed as an oratorio in concert form, but on occasions has also been staged as an opera. The well-known arias "Let the bright Seraphim" (for soprano), "Total eclipse" (for tenor) and "Let their celestial concerts" (the final chorus) are often performed separately in concert.

Esther in its revised form proved to be a popular work, and Handel, though still continuing to focus on composing Italian operas, followed up with two more sacred dramas with English words presented in concert form, Deborah, and Athalia (which, like Esther, was also based on a Biblical drama by Racine), both in 1733.Such was the success of his oratorios in English that Handel eventually abandoned Italian opera, with his last being Deidamia in 1741 and a string of masterpieces of oratorio in English.[3]

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Handel began the composition of Samson immediately after completing Messiah on 14 September 1741. It used a libretto by Newburgh Hamilton, based on Milton's Samson Agonistes, which in turn was based on the figure Samson in Chapter 16 of the Book of Judges.[4] Handel completed the first act on 20 September 1741, the second act on 11 October that year, and the whole work on 29 October. Shortly after that he travelled to Dublin to premiere Messiah, returning to London at the end of August 1742 and thoroughly revising Samson.

The premiere was given at Covent Garden in London on 18 February 1743, with the incidental organ music probably played at the recently completed concerto in A major (HWV 307). The oratorio was a great success, leading to a total of seven performances in its first season, the most in a single season of any of his oratorios. Samson retained its popularity throughout Handel's lifetime and has never fallen entirely out of favor.

Samson, Judge of Israel, married a Philistine woman, Delilah, who discovered that he derived his supernatural strength from never cutting his hair. Delilah shaved his hair while he was sleeping and betrayed him to her people, the Philistines, enemy of the Israelites. The Philistines captured Samson and put his eyes out. The scene was set in front of the prison in Gaza. Since it was a festival day in honour of the Philistine god Dagon Samson was allowed to come out of his prison cell, albeit in chains, and received visitors.

The Philistines celebrate the festival in honour of their god as Samson, blind and in chains, bewails his fate.Samson's friend Micah, allowed to visit on this special day, is appalled by how low their once invincible hero has fallen, seeing Samson's humiliation as a symbol of Israel's defeat, but Samson insists it is all his own fault for having been unable to keep the secret of his magical strength from the woman who betrayed him. Samson bitterly laments his loss of sight.

Micah and the Israelites implore divine assistance as Samson still wishes to die. Delilah, with a group of young women, appears and tells Samson she is sorry for what she did and that she did not realise how serious the consequences would be. She attempts to convince him that she still loves him, but he angrily repudiates her.

The Philistine Harapha comes to insult Samson, who challenges him to a duel. Harapha, however, reviles Samson, claiming it is beneath his dignity to fight with a blind man. Samson mocks him as a braggart. Micah proposes to measure the power of Dagon against that of the God of the Israelites. The Israelite and Philistine choruses both praise their God.

Harapha arrives to take Samson to the feast of the Philistines and show him off there. Samson at first refuses to be present at the worship of Dagon, but then thinks of a plan and agrees to go to the festival, though he warns the Israelites to stay away from it.

Manoah arrives with plans for the children of Israel, including how to free Samson. From a distance the songs of the Philistines are heard, calling on Dagon. Suddenly these sounds turn to noise and panic.

An Israelite messenger arrives and tells the Israelites what has happened: Samson pulled down the building on himself and the Philistines. Samson's dead body is brought out to a funeral march and the children of Israel lament his death. The work ends on a note of thanksgiving as the Israelites praise their God.[4][5]

Samson is richly orchestrated by the standards of its day, calling for strings, two oboes, two bassoons, two horns, two flutes, two trumpets, timpani and continuo instruments.Handel's characterisation through music is evidenced throughout the work, not only in the music for soloists such as Delilah's would-be seductive aria with alluring violins or in the swagger of Harapha's music, but also in the choruses, with the solemn gravity of the Israelites' music sharply contrasted with the hedonistic carefree choruses with added horns for the Philistines.[4]

The concert was a benefit for the rebirthed Love Supreme School of Music the collective is bringing back to life. Started by the late Pappy Martin, the school is designed to continue the legacy and commitment of teaching our youth the science of music. Especially that of jazz music. With the noted intention of improving overall academic performance at the same time.

The concert began with members of the Love Supreme School of Music faculty performing a tune. No doubt, the music of jazz in a church setting was what those in attendance needed after a harrowing week of news and cancellations related to the public health crisis. Momentarily, we were able to suspend ourselves into the beauty of jazz music.

Ernest Dawkins was introduced and I wondered where he would go with his music. His musical style is a penchant to dive into the realm of free jazz. A bastion of the Chicago jazz scene. Perhaps sensing the mood of the audience and the impact of the news the past several days, Dawkins gave us music centered on the uniting power of bebop jazz. Instead of the frenetics of free jazz, he steered the audience into handclapping jazz.

This did not diminish his powerful display of musical strength on the saxophone. Dawkins pushes boundaries in his playing; stretching notes to extremes. A rare ability to create jaw-dropping moments, whether they were on alto or tenor saxophone. Which, Dawkins treated the audience to both. The church setting truly providing a celestial atmosphere for Dawkins and the trio backing him up.

The evening ended with the Love Supreme School of Music faculty and guests coming on stage to do a final number with Ernest Dawkins. A united moment in time basking in the joy of the music we call jazz.

I am sure it was a difficult decision, with the sudden spate of cancellations, to go ahead with the concert. While social distancing was literally practiced in every pew, the concert gave us a safe haven to relish in the music of jazz for a couple of hours.

Worship in the Heart is a unified series of worship events in 2024 that will unite the global church, reinvigorate the heart for worship, and discover new ground. These intimate, limited-seating concerts will be hosted at the groundbreaking World Stage Theater at Museum of the Bible in Washington, DC.

Step into our immersive theater where the Bible comes to life in creative ways. Spanning an intimate but awe-inspiring 8,000 square feet, our amphitheater-style layout is meticulously crafted to elevate the visual and aural experience. It provides the perfect backdrop for an array of productions, from soul-stirring concerts and theatrical masterpieces to dynamic speaking engagements and enchanting musicals. Immerse yourself in a space where every detail is exquisitely designed to ensure an unforgettable encounter with the Bible in a whole new way.

Experience our advanced and newly designed theater created for hosting a variety of events, including conferences, speaking engagements, and other productions. Secure the theater for your upcoming event now.

Tickets also are available through Ticketmaster (585) 232-1900, and at the following Ticketmaster outlets: Auditorium Theater, House of Guitars and Blue Cross Arena will be available beginning April 14. Please note: CMAC summer tickets are NOT available at Wegmans. CMAC Box Office (Lincoln Hill Road, Canandaigua) will be open on concert days from noon to concert start. All CMAC tickets include a $2 or $4 facility fee for Friends of CMAC.

CMAC concerts take place rain or shine. Except for lawn seating, all other seats are covered. The grounds open at 6 p.m. and concertgoers are encouraged to bring their own blanket or lawn chair for relaxing on the hillside. Picnic baskets, reusable plastic containers and vacuum-seal bottles are allowed. Please note the following ground rules: alcoholic beverages may not be brought into CMAC (beer, wine, water and assorted soft drinks are available for purchase); glass bottles, disposable plastic and metal containers, recording devices, grills, pets, fireworks, recording devices and cameras are not permitted on the grounds. Picnic packs are available equipped with cheese, wine, glasses and snacks. Advanced orders are necessary; for more information visit www.cmacevents.com.

Parking is free in the main lot at Lincoln Hill and East Lake Roads. RPO concertgoers may park in the preferred lot on Lake Shore Drive by purchasing preferred parking passes: $10/concert or $30/four-concert series.

Homeschool groups and classes with fewer than 20 students can join one of our Homeschool Open House Days, listed in our Public Show Schedule. To reserve seats at our Homeschool Open House, register using the link provided next to the show date and time. If your plans change and you cannot attend, please email planetarium@afacademy.af.edu in order for your seats to be opened for other guests.

Field Trips or Groups requesting a private show need to be a minimum of 20 people. If you have a special request for less than 20 people, please send a direct email to planetarium@afacademy.af.edu for consideration. 152ee80cbc

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