“Samson et Dalila,” as is sufficiently indicated by the title, is a biblical opera, almost an oratorio, reminding us of the “Joseph” of Méhul. I was overflowing with enthusiasm on coming out from the representation of “Samson et Dalila.” This score and the symphony in C minor are, I believe, the two finest jewels in the crown of this musical king. They are works full of the highest inspiration, of a most sublime cast, wonderfully elaborate in style, and masterpieces in the fullest sense of the word. The gloomy subject of “Henry VIII.” opened up new fields to Saint-Saëns, and afforded him a local color that influenced his music. The moment the score opens, we feel that we know exactly where we are and whither we are going. The principal personages in the drama have been each and all instantaneously portrayed and their diverse characters are accurately represented. The king of England, the Pope’s nightmare and the terror of his queenly wives and victims, is, from a musical point of view, especially well portrayed in his wild orgies and brutal amours. Anne Boleyn fails to hide the pride that lies behind her love, although its expression is not less charming on that account. Catherine of Arragon, the noble and unfortunate forsaken one, is superb in her insulted majesty, her pathetic and sweet melancholy. The choruses are treated in a masterly manner, and there is one important “morceau d’ensemble” which is a signal triumph of expressive and dramatic counterpoint. The airs in the ballet impress us as being thoroughly English. As to the orchestra, the importance of which cannot be over-estimated, it plays in a measured and finished style and produces the effect of a powerful organ. Here we have local color again, cleverly used. “Ascanio” is the last dramatic work of Saint-Saëns. The fanatical partisans of the Wagnerian theories, as we have already observed, were not sparing of bitter criticism. Saint-Saëns must have found ample consolation for this in the continuous applause showered upon him by the public which always cordially welcomes whatever affords it pleasure. “Ascanio” is indeed equal in all respect to “Henry VIII.,” and worthy the composer, which is saying not a little of a man who has given such treasures to all lovers of music. [Illustration: Oscar Comettant] [Illustration: JULES MASSENET _Reproduction of a photograph from life by Nadar of Paris._ ] [Illustration: [Fleuron]] JULES EMILE FRÉDÉRIC MASSENET