Overview

Full Product Details

9781108426381

Table of Contents

Reviews

'While Saint-Saens as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saens operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saens was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal 'Macdonald has for many years eloquently introduced English-speaking readers to neglected gems of French music. Examining the composer's legacy of a dozen full-length operas, plus a few unfinished works and ballets, he persuasively counters the received opinion that Saint-Saens's operas 'contain much agreeable and skilfully-shaped music but are deficient in theatrical effect' ... The reader will soon realise that there is more - much more - to Saint-Saens than Samson et Delilah.' Richard Langham Smith, Royal College of Music, London 'While Saint-Saens as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saens operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saens was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal 'Macdonald has for many years eloquently introduced English-speaking readers to neglected gems of French music. Examining the composer's legacy of a dozen full-length operas, plus a few unfinished works and ballets, he persuasively counters the received opinion that Saint-Saens's operas `contain much agreeable and skilfully-shaped music but are deficient in theatrical effect' ... The reader will soon realise that there is more - much more - to Saint-Saens than Samson et Delilah.' Richard Langham Smith, Royal College of Music, London

Advance praise: 'While Saint-Saens as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saens operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saens was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal Advance praise: 'While Saint-Saens as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saens operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saens was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal Advance praise: 'Macdonald has for many years eloquently introduced English-speaking readers to neglected gems of French music. Examining the composer's legacy of a dozen full-length operas, plus a few unfinished works and ballets, he persuasively counters the received opinion that Saint-Saens's operas `contain much agreeable and skilfully-shaped music but are deficient in theatrical effect' ... The reader will soon realise that there is more - much more - to Saint-Saens than Samson et Delilah.' Richard Langham Smith, Royal College of Music, London

Advance praise: 'While Saint-Saens as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saens operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saens was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal Advance praise: 'Macdonald has for many years eloquently introduced English-speaking readers to neglected gems of French music. Examining the composer's legacy of a dozen full-length operas, plus a few unfinished works and ballets, he persuasively counters the received opinion that Saint-Saens's operas 'contain much agreeable and skilfully-shaped music but are deficient in theatrical effect' ... The reader will soon realise that there is more - much more - to Saint-Saens than Samson et Delilah.' Richard Langham Smith, Royal College of Music, London 'While Saint-Saens as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saens operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saens was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal 'Macdonald has for many years eloquently introduced English-speaking readers to neglected gems of French music. Examining the composer's legacy of a dozen full-length operas, plus a few unfinished works and ballets, he persuasively counters the received opinion that Saint-Saens's operas `contain much agreeable and skilfully-shaped music but are deficient in theatrical effect' ... The reader will soon realise that there is more - much more - to Saint-Saens than Samson et Delilah.' Richard Langham Smith, Royal College of Music, London

Advance praise: 'While Saint-Saens as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saens operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saens was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal Advance praise: 'Macdonald has for many years eloquently introduced English-speaking readers to neglected gems of French music. Examining the composer's legacy of a dozen full-length operas, plus a few unfinished works and ballets, he persuasively counters the received opinion that Saint-Saens's operas 'contain much agreeable and skilfully-shaped music but are deficient in theatrical effect' ... The reader will soon realise that there is more - much more - to Saint-Saens than Samson et Delilah.' Richard Langham Smith, Royal College of Music, London Advance praise: 'While Saint-Saens as an opera composer is primarily remembered today for Samson et Dalila, his other works for the stage have been given short shrift by critics and performers. Macdonald decisively changes this historiographical trend. He makes a brilliant case not only for the cultural significance of the Saint-Saens operas, but also for their viability in modern revival. This is an accessible account, one deeply aware of context and sensitive to musical style. Macdonald not only gives attention to the genesis and performance history of the works, but in particular lavishes special attention on what makes them compelling to the listener. Saint-Saens was one of the great musical virtuosos of nineteenth- and early twentieth-century European culture. This book is a virtuoso performance worthy of its subject.' Steven Huebner, James McGill Professor, McGill University, Montreal Advance praise: 'Macdonald has for many years eloquently introduced English-speaking readers to neglected gems of French music. Examining the composer's legacy of a dozen full-length operas, plus a few unfinished works and ballets, he persuasively counters the received opinion that Saint-Saens's operas `contain much agreeable and skilfully-shaped music but are deficient in theatrical effect' ... The reader will soon realise that there is more - much more - to Saint-Saens than Samson et Delilah.' Richard Langham Smith, Royal College of Music, London

Author Information

Hugh Macdonald's distinguished career has included appointments at the University of Cambridge, University of Oxford, University of Glasgow and Washington University, St Louis. He was General Editor of the New Berlioz Edition (1967–2006), and has published books on Skryabin, Berlioz and Bizet.

Tab Content 6

Customer Reviews

Recent Reviews

Countries Available