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Yes, indeed, you are so right! Unfamiliar music is at a disadvantage to start with, since it is... unfamiliar. It needs to be presented in the best possible light, with good sound. If the playing is not at least good [accurate, pleasant to the ear], then not only is the music ill served, but the listener [ at least this listener!] is thinking, I can't wait until this is over! Happily the level of general performance has risen since the 1970's. I am amazed at how good most orchestras are, even student orchestras. Unfamiliar music really needs to be recorded by good performers who are committed to the music. Thanks for bringing up this issue.

Jose Luccioni is excellent in the 1946 Samson recording, and also recorded excerpts from Otello. Another outstanding Corsican tenor was Cesar Vezzani- an extraordinary, powerful "compact" voice. He recorded Faust in 1931, I think, with Marcel Journet, and had a very long career.

There is a fascinating CD of Des Grieux's "Le Reve" as recorded by 36 different tenors of history- some famous, some not. All are interesting.

Esclarmonde was Massenet's own personal favorite of his works (from one of the books) and I find it captivating. Another superb- and full blooded work is Herodiade. There was an extraordinary recording of highlights with an all-star French cast under Georges Pretre that I have on vinyl- Crespin, Gorr, Lance (not French by birth, but by style!) Dens, and Mars from about 1963- both Crespin and Gorr are stupendous! Massenet was also such a master of orchestration too- it almost goes unnoticed it is so perfect. Seems that both Massenet and Saint-Saens moved toward greater refinements and subtleties in their later operas (and works in general). 

Lately, I have been listening to various recordings of one of Massenet's most famous arias- "Ah! fuyez douce image" - which is such a marvel as the music perfectly illuminates the conflicting emotions of the character. As usual- Georges Thill remains the ideal standard.

I remember the bad old days when even Werther was hardly ever heard! I did get to see Esclarmonde when the Metropolitan mounted it for Sutherland and it was stupendous! The entire work is gorgeous! The criticism of his work is largely the result of the rage of modernism which is suspicious of anything that is that melodic or enjoyable. Next year, the Metropolitan will mount Cendrillon- another superb work. I could never understand why it was never mounted again- a fine cast could be put together, even after Sutherland's retirement- perhaps the "shadow" of Sutherland and the inevitable comparisons gave later sopranos pause for thought.....

I am convinced that in the US the neglect of French music, particularly opera, is primarily the result of demographics. Two of the major ethnic groups that came to the US in the late nineteenth-early twentieth century were German and Italian. Naturally they brought with them their (wonderful!) culture including music. The early years of the Metropolitan Opera is fascinating in that they presented Faust, but in Italian or German (depending on the national origin of the Director!).

I cannot chose one opera as Massenet's best- there are too many great ones!

This is really wonderful news! Martin Cooper, the English musicologist, in his "French Music from Berlioz to Faure" indicated that in his opinion, Ascanio was Saint-Saens finest opera (after Samson). I sure hope that a recording of this work will be made. The ballet music is available on a fine recording. And I am eager to hear Le Timbre d'Argent in the not too distant future.

Thank you for the alert about the second volume- the preview on Youtube is very promising- some of the most beautiful songs.... eager to get this!

I just received my CD ordered from Amazon US, and it is excellent- both Mr. Christoyannis and Mr. Cohen are  superb- the piano part is often complex in these songs, so these artists deserve applause! I am hoping that this is the beginning of a series of recordings by these excellent artists to record all of Saint-Saens' songs- there are so many fine songs that still are neglected. A fine addition to the discography of Saint-Saens.

I completely agree with Alberto- the less well known works of Camille Saint-Saens are consistently beautiful, characterful and rewarding! All of the works that Alberto mention, plus all of Saint-Saens chamber works. And his unknown opera's - particularly Henry VIII and Etienne Marcel are excellent- [we still need really top notch recordings of the operas].

After listening to Proserpine 3 times, I find it very good indeed. First of all, the forces involved are fully up to their assignment, as opposed to Les Barbares, so it was possible to assess the work. The story is no worse than many other operas of the time, and better than some. I do find that one misses the stage picture- after all this was written as a staged work, and when listening only, the suicide of Proserpine seems abrupt. It would be different in the opera house. So far, I find that Henry VIII is outstanding, and should be performed often, Etienne Marcel nearly as good (here again, the ending needs the stage to be fully effective). Martin Cooper (in French Music from the Death of Berlioz to the Death of Faure) claims that Ascanio is the finest of Saint-Saens' operas after Samson. Looking forward to hearing that one. But, I am really happy to have this and wlil purchase the book/CD when it is issued. Thank you hadrianus for uploading this wonderful work.

The situation in the US is quite bad- a double squeeze of reduced number of concerts due to shrinking audience size and the "need" to free up time for new compositions, particularly of the politically correct kind. Years ago, I wrote to Yuri Temerkanov who was then the music director of the Baltimore Symphony to suggest a program for 2005: Glazounov's Symphony Number 8, written in the revolutionary year 1905 and his student, Shostakovich's Symphony Number 11, "The Year 1905" - which I thought would be a fascinating program. I received a polite thank you, and that was that! This year we are getting the Glazounov Violin Concerto- with our superb concert master as soloist. I think that this is the first piece by Glazounov played by the Baltimore Symphony since I moved here in 1982. None too encouraging.

Perhaps a new category- Semi-sung! What is more alarming is to realize just how arbitrary the development of the "standard repertory" is! So much superb music now never seems to be played in the concert hall- thank heaven for the proliferation of CD recordings. All four of the early Saint-Saens symphonies are superb works- beautiful and characterful; I have been trying for years to get my local symphony (Baltimore Symphony Orchestra) to program the Symphony #2, so far to no avail.

Yes, this is another opera by Saint-Saens that needs a first rate recording. While there are some "libretto" problems, the ending seems a little anti climactic, the music is vivid and very powerful- great crowd scenes, and colorful, melodic music throughout. The cast is good- Alain Fondary (who is also Henry VIII in the outstanding performance from the same source) is strong, Michele Legrand who sings Beatrix (superb) and very good mezzo (the Dauphin, a trouser role) and the tenor - capable but perhaps not well recorded (voice tends to blast). Not conventionally set up with many arias, however, but perhaps more realistic because of that. There is a fine aria for Beatrix followed by a radiant love duet that concludes the act. Wonderful music! Henry VIII has the better libretto by far and thus is a more complete experience, but Etienne Marcel is very enjoyable- the conductor keeps things moving - an exciting work. Chorus and orchestra are very good- everyone seems to be fired up! Highly recommended.

Now, if we could get a recording (even a pirate) of Ascanio !! I am sure there is much more to discover.

thank you for this link. These are really beautiful chamber works, for me, among the best of all of Lalo's output. I have the Trio Parnassus recording on MD&G and enjoy hearing them often.

Thank you all! Alberto is right- my recollection of these recordings is faulty- my collection of lps were destroyed in a fire in the 1990's but I remember the Dervaux recordings on EMI, (imports as I recall) and that they had considerable echo from a very live recording venue (rather exciting, as I remember). I do hope to rebuild this part of my collection- thanks for this information.

In the 1970's there were recordings of the 3 Wallenstein symphonic poems and Istar, on Supraphone, with Jean Fournet conducting. Does anyone know if these have been transferred to CD. As I recall they were excellent.