By Una Barry (soprano)

The story of Samson and Delilah (or Dalila) as told in Judges has inspired numerous writers, artists and composers for hundreds of years.

Yet all this Old Testament stuff, however well set, isn't for the faint-hearted. I don't suppose for one minute that Samson thought that his life story would still be mulled over in today's world - a character from the 11th century BC, born with extraordinary, God-given powers and strengths who then manages to dwindle them away not least by putting his love of women before God, and in particular falling for the trickery of Delilah.

In the more calming atmosphere of St Margaret's in Ilkley, with the sun pouring in through the stained glass windows, the Ilkley and Otley Choral Societies presented us with the version of Samson compiled for the 1880 Leeds Music Festival - a wise move to avail of judicious cuts from a work that, if performed in full, takes three and a half hours and not enough time on the day to rehearse. Yet the story flowed in spite of an hour's worth of music missing.

It was a very impressive concert, accompanied by the Yorkshire Chamber Ensemble, led firmly by Nick Meredith. And with the meticulous conducting and direction of Alan Horsey - someone who will be greatly missed when he retires next year - the performance had a real air of confidence and assurance.

A poignant moment was the Dead March, originally written for Saul. This was played so simply, interspersed with the organ, and avoiding any of the usual histrionics.

The professional soloists, well known to the British classical music world at large as baroque specialists, all added to the success of the concert - Kate Trethewey (soprano), Robert Ogden (counter tenor), Richard Rowe (tenor) Neil Baker (baritone) and Quentin Brown (bass).

Richard Rowe came up from Kent at the 11th hour to replace the original Samson. Rowe is very experienced at singing that part, and showed all the dramatic qualities that the part needs in order to keep it alive and be believable.

Kate Trethewey sang with a light, bright baroque sound, and particularly in Let the Bright Seraphim (or Seraphims as we strangely heard) the notes of which tripped along in her voice with great ease. She was accompanied by the very accomplished trumpeter from the orchestra whose name was missing from the programme, but who showed off the instrument's idiomatic potential in a very exciting way I had never heard before.

The counter tenor, Robert Ogden, sang the part of Micah admirably and with honesty.

Handel did intend the part to be sung by a female alto, even though it is the character a young man, and I missed the flexibility of the female sound, even if modern audiences might find the look too hard to swallow.

Neil Baker (baritone) sang the role of Harapha with a careful and clear-sounding approach that was both musically and technically assured, particularly in Honour and Arms Scorn Such a Foe, where he excelled and sang with great precision.

Quentin Brown is a well known oratorio bass in Yorkshire, and sang the part of Manoah, Samson's father. He sang in a very fatherly way with warmth of sound and commitment but I just longed for a bit more clarity and variety at times in the sound.

The all-important part of the Israelitish Messenger, who comes to announce the death of Samson, was taken by Barry Jordan, a tenor in the choir.

This was sung with conviction and thorough sincerity.

The performance ended with the chorus Let Their Celestial Concerts All Unite Ever to Sound His Praise, which was inspiring and uplifting.

What was disappointing was to see the church more than half-empty for a concert with such experienced soloists.

You do get the feeling that in 10 years' time, music will only be available to download in a virtual space in a cloud! But if we want our choral societies to survive both musically and financially, the reality is that we need to support them, either by joining up to sing if you can or being part of the paying audience, otherwise it dies and that includes performances of Messiah as well.

But it was clear that the audience - myself included - appreciated the enormous amount of hard work that had gone into this concert and for making it a truly memorable evening.

We certainly left having experienced an amazing Biblical epic, and I am so pleased I went.