In the meanwhile as this state of things exists, and the musical public is debarred from hearing a work like "Samson et Dalila" on the stage, it may be wondered that no one seems to have been struck with the idea of producing it in oratorio form in the concert-room. It is not creditable that England should remain the only nation where "Samson et Dalila" has not been given.[24]
The prejudice existing against the employment of Biblical subjects for operatic purposes is unfortunate, as the fund of material is apparently exhaustless. The story of Samson and Dalila has furnished Saint-Saëns with a plot such as he has since sought for in vain in the pages of English and French history. The less complicated the story, the better it is fitted for operatic treatment. Wagner has exposed his reasons at length concerning the superiority of a legendary over a historical subject. Saint-Saëns is unfortunately not of this way of thinking. Of later years the bias of his mind has been rather tending towards historical subjects.
"Samson et Dalila" may be considered not only as one of the master's best operas, perhaps even as the very best, but as one of the finest dramatic works produced by any French composer during the last five-and-twenty or thirty years.
A work like this cannot be otherwise than the spontaneous outcome of a composer's feelings, untrammelled by outward considerations. The varied influences that are noticeable in the musical style of Saint-Saëns, and to which I have already made allusion, are perhaps more marked in this work than in any of his other operas. In the first act the choruses sung by the captive Hebrews breathe the spirit of Bach and Handel, and are conceived rather in the oratorio style. As a strong contrast to these we have the dainty chorus of the priestesses of Dagon and their characteristic dance, the fascinating trio in which Dalila endeavours to cast her spell over Samson, and the lovely air, "Printemps qui commence," which terminates the act and which has been sung by every contralto. Samson's spirited appeal to arms must also be mentioned. The second act commences with Dalila's invocation to love, praying for aid in her design to ensnare Samson. The lengthy duet between the heroine and the high priest is eminently dramatic, and the following duet between her and Samson may be ranked amongst the finest love scenes ever written. It contains a beautiful phrase sung by the temptress when endeavouring to inveigle her victim, which is reproduced later on in an admirably suggestive manner by the orchestra, and reappears in the third act, transformed into a mocking theme, when Dalila is scoffing at her victim in chains and deprived of his sight. The third and last act contains a touching prayer for Samson, bewailing his lost sight, some admirable ballet music, in which the composer has made effective use of the Eastern scale, and a masterly scene depicting the revelries of the Philistines, culminating in the destruction of the temple by Samson. So ends this beautiful score, the merits of which are so transparent and yet have remained so long unrecognised.
In "Samson et Dalila" Saint-Saëns had made use of representative themes, and although he has done so in a sufficiently discreet fashion, avoiding anything approaching to Wagnerian polyphony, the fact deserves to be noted as affording, perhaps, the first instance in which the system has been rigorously followed by a French composer. There can be no doubt but that the device contributes to a great extent in securing that unity which is so much sought for nowadays in dramatic works. Another point to be noted is the suppression of detached numbers, the opera being divided into scenes that are logically developed.
The instrumentation of "Samson et Dalila" is rich and varied, yet never unduly complicated. Saint-Saëns knows how to distribute his effects with unerring certainty, and his work is a model of orchestral skill. The opera is scored for a very full orchestra, of which it may be interesting to give the composition. In addition to the strings and usual wood wind, he employs a third flute, a cor anglais, a bass clarinet, a double bassoon, four horns, two trumpets, two cornets, three trombones, a bass tuba, two ophicleides, two harps, three kettledrums, a grosse caisse, cymbals, a triangle, a glockenspiel, crotales, castagnettes made of wood and iron, a tambour de basque, and a tamtam.
These constitute a powerful engine of sound, which is made subservient to the composer's will, and reproduces his thoughts with unimpeachable exactitude.
"Samson et Dalila" perhaps remains the dramatic masterpiece of Saint-Saëns. His other operas may be equally remarkable in point of style and more elaborate in the matter of detail, but they often lack that apparent spontaneity which constitutes not the least charm of the Biblical work, and, although containing much that is admirable, are perhaps less inspired. Saint-Saëns could not write an uninteresting work if he chose, and musicians will find much to admire in his later operas. In "Samson et Dalila" he has succeeded in compelling the admiration of both musicians and the public at large, perhaps for the very reason that when he wrote it he did not attempt to please either, but was content to follow the bent of his inspiration without arrière pensée of any sort.