econd he visits
Dalila in the Vale of Sorek, tells her the secret of his strength, and
is betrayed into the hands of the Philistines. The third act shows
Samson, blind and in chains, grinding at a mill. The scene afterwards
changes to the temple of Dagon, where a magnificent festival is in
progress. Samson is summoned to make sport for the Philistine lords, and
the act ends with the destruction of the temple, and the massacre of the
Philistines. Saint Saens is the Proteus of modern music, and his scores
generally reveal the traces of many opposing influences. The earlier
scenes of 'Samson et Dalila' are conceived in the spirit of oratorio,
and the choral writing, which is unusually solid and dignified, often
recalls the massive style of Handel. In the second act he exhausts the
resources of modern passion and colour, and in the Philistine revels of
the third act he makes brilliant and judicious use of Oriental rhythms
and intervals. Guiding themes are used in the opera, but not to any
important extent, and the construction of the score owes very little to
Wagner. Yet though the main outlines of the work adhere somewhat closely
to a type which is now no longer popular, there is little fear of
'Samson et Dalila' becoming old-fashioned. The exquisite melody with
which it overflows, combined with the inimitable art of the
orchestration, make it one of the most important and attractive works of
the modern French school. 'Etienne Marcel' (1879) and 'Proserpine'
(1887) must be classed among Saint Saens's failures, but 'Henry VIII.'
is a work of high interest, which, though produced so long ago as 1883,
is still popular in Paris. The action of the piece begins at the time
when Henry is first smitten with the charms of Anne Boleyn, who for his
sake neglects her former admirer, Don Gomez, the Spanish Ambassador.
Negotiations regarding the King's divorce with Catherine of Aragon are
set on foot, and, when the Pope refuses to sanction it, Henry proclaims
England independent of the Roman Church, amidst the acclamations of the
people. In the last act Anne is queen. Catherine, who is at the point of
death, has in her possession a compromising letter from Anne to Don
Gomez. Henry is devoured by jealousy, and comes, accompanied by Don
Gomez, to try to obtain possession of the incriminating document. Anne
comes also for the same purpose. This is the strongest scene in the
opera. Henry, in order to incite Catherine to revenge, speaks to Ann