Editing Samson and Delilah (opera) (section)

==Composition history==
In the middle of the 19th century, a revival of interest in [[Choir|choral music]] swept France, and Saint-Saëns, an admirer of the [[oratorio]]s of [[George Frideric Handel|Handel]] and [[Felix Mendelssohn|Mendelssohn]], made plans to compose an oratorio on the subject of Samson and Delilah as suggested by [[Voltaire]]'s libretto ''Samson'' for [[Jean-Philippe Rameau|Rameau]]. The composer began work on the theme in 1867, just two years after completing his first (and as then yet unperformed) opera, ''[[Le timbre d'argent]]''. Saint-Saëns had approached [[Ferdinand Lemaire]], the husband of one of his wife's cousins, about writing a libretto for the oratorio but Lemaire convinced the composer that the story was better suited to an opera.<ref name=Grove>{{harvnb|Macdonald}}</ref>

Saint-Saëns later wrote: <blockquote>A young relative of mine had married a charming young man who wrote verse on the side. I realized that he was gifted and had in fact real talent. I asked him to work with me on an oratorio on a biblical subject. 'An oratorio!', he said, 'no, let's make it an opera!', and he began to dig through the Bible while I outlined the plan of the work, even sketching scenes, and leaving him only the versification to do. For some reason I began the music with act 2, and I played it at home to a select audience who could make nothing of it at all.<ref name=Grove /></blockquote>

[[File:Pauline Viardot.JPG|left|thumb|upright|The role of Dalila was written for [[Pauline Viardot]] (1821–1910) ''(pictured)'' but the singer was too old to assay the role for the 2 December 1877 Weimar premiere and the role was entrusted to [[Auguste von Müller]].]]

After Lemaire finished the libretto, Saint-Saëns began actively composing act 2 of the opera, producing an [[aria]] for Dalila, a [[duet]] for Samson and Dalila, and some musical pieces for the chorus (some of which were later assigned to act 1) during 1867–1869. From the very beginning, the work was conceived as a grand duet between Samson and Dalila set off against the approaching tempest. Although the orchestration was not yet complete, act 2 was presented in a private performance in 1870 just prior to the outbreak of the [[Franco-Prussian War]] with Saint-Saëns playing the orchestral parts, which were largely improvised, on the piano. Composer [[Augusta Holmès]] (Dalila), painter [[Henri Regnault]] (Samson), and [[Romain Bussine]] (High Priest) rendered their roles from part books.<ref name=Huebner>Huebner, pp. 206–212</ref>
In spite of many precedents, the French public reacted negatively to Saint-Saëns's intention of putting a Biblical subject on the stage. The alarm on the part of the public caused him to abandon working further on the opera for the next two years.<ref name=Grove />

[[File:Liszt-1870.jpg|thumb|upright|[[Franz Liszt]] (1811–1886) was an enthusiastic supporter of ''Samson et Dalila'' and was instrumental in arranging the first production in Weimar. (Photograph, 1870)]]

In the summer of 1872, not too long after the premiere of Saint-Saëns's second opera ''[[La princesse jaune]]'', the composer went to [[Weimar]] to see the first revival of Wagner's ''[[Das Rheingold]]'' under the baton of [[Franz Liszt]], the former musical director of the Weimar court orchestra and opera. Liszt was highly interested in producing new works by talented composers and persuaded Saint-Saëns to finish ''Samson and Delilah'', even offering to produce the completed work at the grand-ducal opera house in Weimar. Encouraged, Saint-Saëns began composing act 1 in late 1872 and worked on it sporadically for the next few years. He wrote a large amount of act 1 and completed it during a trip to [[Algiers]] in 1874.<ref name=Boston>{{cite web|url=http://www.concertoperaboston.org/samson%20et%20dalila.html|title=Samson et Dalila at www.concertoperaboston.org}}</ref> Upon returning to France in 1875, Saint-Saëns presented act 1 in Paris at the [[Théâtre du Châtelet]] in a similar format as the 1870 performance of act 2. The work was harshly received by music critics and failed to gain the public's interest. That year acclaimed [[mezzo-soprano]] [[Pauline Viardot]], for whom Saint-Saëns wrote the role of Dalila, organized and performed in a private performance of act 2 at a friend's home in [[Croissy-sur-Seine|Croissy]], with the composer at the piano. Viardot was a great admirer of the work and she hoped that this private performance would encourage Halanzier, the director of the [[Palais Garnier|Paris Opéra]] who was in attendance, to mount a full production. Although Saint-Saëns completed the score in 1876, no opera houses in France displayed any desire to stage ''Samson et Dalila''. Liszt's sustained support however led to the work being mounted in Weimar in 1877.<ref name=Grove />