The same year that "Le Timbre d'Argent" was produced in Paris, the Grand Ducal Theatre of Weimar announced the first performance of a new opera by Saint-Saëns, entitled "Samson et Dalila." As many consider this the composer's finest dramatic work, and as it is only comparatively recently that its beauties have come to be generally recognised, and that it has been incorporated into the _répertoire_ of the Paris Opera, a short account of the genesis of this remarkable composition may not be out of place, the more so as if will accentuate the difficulties that appear to beset composers and stand in the way of works of the highest merit. "Samson et Dalila" was begun by Saint-Saëns before the year of the Franco-German war. 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.