The stage works of Saint-Saëns range from grand open-air pageants to one-act comic operas, and include the first composed film score. Yet, with the exception of Samson et Dalila, his twelve operas have lain in the shadows since the composer's death in 1921. Widely performed in his lifetime, they vanished from the repertory - never played, never recorded - until now. With four twenty-first-century revivals as a backdrop, this timely book is the first study of Saint-Saëns's operas, demonstrating the presence of the same breadth and versatility as in his better known works. Hugh Macdonald's wide knowledge of French music in the nineteenth century gives a powerful understanding of the different conventions and expectations that governed French opera at the time. The interaction of Saint-Saëns with his contemporaries is a colourful and important part of the story.

'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

'Macdonald has for many years eloquently introduced English-speaking readers to neglected gems of French music. Examining the composer’s legacy of a dozen full-length operas, plus a few unfinished works and ballets, he persuasively counters the received opinion that Saint-Saëns’s operas ‘contain much agreeable and skilfully-shaped music but are deficient in theatrical effect’ … The reader will soon realise that there is more - much more - to Saint-Saëns than Samson et Delilah.'

Richard Langham Smith - Royal College of Music, London

'… surprising though this may seem, given that Samson and Dalila is one of the most-performed French operas in the world, [Saint-Saëns and the Stage] tackles a subject that has never been dealt with before … [and] demolishes several received ideas. … the theatrical work of Saint-Saëns is certainly very lucky to be presented here and defended by Hugh Macdonald … no one knows French music of the nineteenth century better than he. Not only does he scrutinize each of Saint-Saëns' contributions to the theater - even the most obscure stage music - but this examination is constantly enriched by references which are sometimes unexpected but always relevant. … a discography completed the volume and make it even more valuable for researchers and for anyone interested in one of the greatest figures in French music …'

Source: translated from nonfiction.fr (www.nonfiction.fr)

‘Macdonald (Washington Univ., St. Louis) offers a comprehensive treatment of all [Saint-Saëns’s] output - operas, incidental music, ballets, and film music - arguing that taken together these works reveal the true genius and creativity of Saint-Saëns. … The narrative guides the reader through each work, section by section, illuminating the drama and the music that portrays and supports it …Macdonald makes a compelling case for reconsidering many of Saint-Saëns’s stage works and for his place as a talented composer of opera, ballet, and dramatic music. This book provides the reader not only with an understanding and appreciation of this rich repertoire but also with a new perspective of Saint-Saëns the dramatist.’

B. Doherty Source: Choice

‘… is Herculean in every sense … with heaps of insightful detail, gleaned from many sources but, in particular, through close and erudite examination of librettos and scores.’

Clair Rowden Source: Fontes Astis Musicae