[CHAPTER III]
RUBINSTEIN AND HIS "GEISTLICHE OPER"
Anton Rubinstein and his ideals, An ambition to emulate Wagner, "The Tower of Babel," The composer's theories and strivings, et seq.—Dean Stanley, "Die Makkabaer," "Sulamith," "Christus," "Das verlorene Paradies," "Moses," Action and stage directions, New Testament stories in opera, The Prodigal Son, Legendary material and the story of the Nativity, Christ dramas, Hebbel and Wagner, "Parsifal,"
[CHAPTER IV]
"SAMSON ET DALILA"
The predecessors of M. Saint-Saens, Voltaire and Rameau, Duprez and Joachim Raff, History of Saint-Saens's opera, et seq.—Henri Regnault, First performances, As oratorio and opera in New York, An inquiry into the story of Samson, Samson and Herakles, The Hebrew hero in legend, A true type for tragedy, Mythological interpretations, Saint-Saens's opera described, et seq.—A choral prologue, Local color, The character of Dalila, et seq.—Milton on her wifehood and patriotism, "Printemps qui commence," "Mon coeur s'ouvre a ta voix," Oriental ballet music, The catastrophe,
[CHAPTER V]
"DIE KONIGIN VON SABA"
Meritoriousness of the book of Goldmark's opera, Its slight connection with Biblical story, Contents of the drama et seq.—Parallelism with Wagner's "Tannhauser," First performance in New York, Oriental luxury in scenic outfit, Goldmark's music,