The second act was tried over in private, when the part of Samson was sung by the ill-fated painter, Henri Regnault, who was destined to be killed a year later, during the war. The "Marche Heroïque," composed by Saint-Saëns, is dedicated to the memory of the unfortunate artist.
The score of "Samson et Dalila" was terminated towards 1872, and a performance of the second act was given by Madame Viardot at her country-house at Croissy two years later. On this occasion the gifted hostess undertook the part of Dalila, and all who can remember her incomparable method of singing will agree that she must have been an admirable interpretress of the passionate accents allotted by Saint-Saëns to the heroine of his opera.
The influence of this admirable artist upon French music has been very great. In a volume of verses recently published Saint-Saëns thus apostrophises her:
"Gloire de la Musique et de la Tragédie;
Muse qu'un laurier d'or couronna tant de fois,
Oserai-je parler de vous, lorsque ma voix
Au langage des vers follement s'étudie?
Les poëtes par Apollon vainqueur
Ont seuls assez de fleurs pour en faire une gerbe
Digne de ce génie éclatant et superbe
Qui pour l'éternité vous a faite leur sœur.
Du culte du beau chant prêtresse vénérée,
Ne laissez pas crouler son autel précieux,
Vous qui l'avez reçu comme un dépôt des cieux,
Vous qui du souvenir êtes la préférée!
Ah! comment oublier l'implacable Fidés
De l'amour maternel endurant le supplice,
Orphée en pleurs qui pour revoir son Eurydice
Enhardi par Éros pénétre dans l'Hades!
Grande comme la Lyre et vibrante comme elle,
Vous avez eu dans l'Art un éclat nonpareil.
Vision trop rapide, hélas! que nul soleil
Dans l'avenir jamais ne nous rendra plus belle!"
In 1875 the first act of "Samson et Dalila" was given in its entirety in Paris at one of Mons. Colonne's concerts.
It was, however, not until the second of December 1877 that "Samson et Dalila" was brought out upon the stage. Liszt, ever anxious to further the progress of art, had been struck by the merits of the work, and undertook to have it mounted at Weimar, where some twenty-five years earlier he had been instrumental in producing "Lohengrin" for the first time on any stage.
Musicians of the calibre of Liszt are indeed rare, and it is right to tender a passing tribute to the absolute disinterestedness of this great man, who never lost an opportunity of helping a brother artist. Having been brought out on German soil for the first time, a fact which the composer should remember when indulging in those patriotic ebullitions that of late years have so frequently appeared from his pen, "Samson et Dalila" was played at Hamburg in 1883 with Frau Sucher in the principal part.
It was not until 1890 that the opera was given in France, Rouen being the first town in which it was played. During that year it was produced in Paris at the Eden Theatre under the same manager. On this occasion the principal parts were interpreted by Mme. Rosine Bloch and Mons. Talazac, both of whom have recently died.
Lyons, Marseilles, and Aix-les-Bains followed in 1891, and the next year "Samson et Dalila" was given at Toulouse, Bordeaux, Montpellier, Nantes, Nice, Florence, Monte Carlo, Geneva, and Dijon, receiving its final consecration by being produced on a grand scale at the Paris Opera House, having thus occupied a period of twenty years in reaching its goal. It has since then been played in other continental towns. London still remains, and upon this I should like to say a word. The fact of "Samson et Dalila" being taken from a Biblical source has been accepted as a reason for its non-production in our metropolis. That a work of the most serious import should thus be excluded from our stage when productions of the most futile description are passed without demur, is another example of the contradictions that exist in our pharisaical country.
Not so long ago an operetta was licensed in which ministers of religion were held up to ridicule, and jokes were freely made concerning matters that must by a great portion of the audience have been held sacred, and yet nothing was said. But should some manager think of producing an episode culled from the Old Testament, and treated in a strictly serious and even reverent manner, the British conscience, that article of home manufacture of which Englishmen are so proud, is at once up in arms. We cannot support too many music-halls or give too much encouragement to those bastard specimens of operatic music known as "original" (?) comic operas, but our feelings of propriety revolt against anything like the stage treatment of works founded upon Biblical subjects. Let us be consistent whilst we are about it. If it is wrong to introduce Samson, Dalila, the Queen of Sheba, Joseph, Moses, or other Biblical personages upon the stage, it is surely worse to sanction the performance of operas or dramas in which scenes are introduced representing the interior of churches, or religious ceremonies of any description! Worse than all is the performance of pieces calculated to throw ridicule upon ministers of religion. To see respectable audiences sitting complacently gazing at a popular actor personifying a clergyman dancing in a pas de quatre with his chapel in the background, and to think that some of these very individuals may possibly be numbered amongst those who object to Sunday concerts, is indeed more than strange.