Saint-Saëns and the Stage

Hugh Macdonald's distinguished career has included appointments at the University of Cambridge, University of Oxford, University of Glasgow and Washington University, St Louis. He was General Editor of the New Berlioz Edition (1967–2006), and has published books on Skryabin, Berlioz and Bizet.

• 1. Preparations for opera, Le Duc de Parme; 2. Le Timbre d'argent; 3. Samson et Dalila; 4. La Princesse jaune; 5. Etienne Marcel; 6. Henry VIII; 7. Proserpine; 8. Ascanio; 9. La Crampe des écrivains, Phryné; 10. Antigone, Frédégonde; 11. Javotte, Déjanire; 12. Lola, Les Barbares; 13. Parysatis, Botriocéphale, Andromaque, Le Roi Apépi, Hélène; 14. L'Ancêtre, La Foi; 15. L'Assassinat du Duc de Guise, Déjanire, On ne badine pas avec l'amour; 16. Saint-Saëns the Dramatist.

'While Saint-Saëns as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saëns operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saëns was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal