Camille Saint-Saëns in Saigon
Dublin Core
Title
Camille Saint-Saëns in Saigon
Description
Camille Saint-Saëns (see illustration) visited Saigon in early February 1895 and then traveled to Poulo Condor or Côn Sơn Island of the Côn Đảo Archipelago on invitation by Louis Jacquet, the governor of the archipelago to stay under a kind of artist residence (Doling 2014, Pasler 2012). Frédégonde, an 1895 French opera (drame lyrique), was one of Saint-Saëns' works written during the time here.
The presence of Saint-Saëns and his music in Saigon Opera House, and Indochina in general, is arguably surprising as there has not been much exposure in contemporary Vietnam to the historical heritage of Saigon's involvement with Western classical music as a site of travel (as compared to, for example, the stories of Louis Pasteur's or Alexandre Yersin's frequent visits) or a center for cultural exchange.
The examples of Pasteur's and Yersin's presence in Indochinese Vietnam are made known in the contemporary through many means of the naming of the streets (in Saigon's central District 1), the buildings, and stories of how each person courageously and compassionately contributed many medical advancements to Saigon, Vietnam, and the world. Thus, capitalizing on these "super-star" experts, the above means of framing both honor their contributions and elevate the position of Saigon/Vietnam through the fondness that these two expressed toward the place.
Back to Saint-Saëns, Doling (2014) observes that Saint-Saëns' travels to and tellings of Saigon spark one of the first of many fascinations of Western, particularly French, artists with the Orient, especially Indochina.
Doling's blog post (2014) is also one of the few available resources, in English still, that traces Saint-Saëns' footsteps: "Saint-Saëns’ epic journey to Saigon was his last major overseas trip. Five years later, his much-loved opera Samson et Dalila topped the bill in the 1900-1901 opening season of the new Théâtre Municipal de Saigon, along with Puccini’s La Bohème and Massenet’s La Navarraise."
However, here Doling does not cite any references to archival materials. Whereas Pasler (2012, 189) confirmed operatic performances Saint-Saëns' Samson et Dalila, Puccini’s La Bohème, and Massenet’s La Navarraise taking place at the Saigon Opera House during the 1900-1901 season, but not the extent of the sell-out of each performance. Thus, the popularity of these Western world-famous operas in Saigon then remains doubtful.
References:
Doling, Tim. 2014. "Saint-Saens in Saigon". HISTORIC VIETNAM. Last modified July 15, 2014 (17 April 2022).
Pasler, Jann. 2012. “Friendship and Music in Indochina." In Camille Saint-Saëns and His World, edited by Jann Pasler. Princeton, N.J.: Princeton University Press.
The presence of Saint-Saëns and his music in Saigon Opera House, and Indochina in general, is arguably surprising as there has not been much exposure in contemporary Vietnam to the historical heritage of Saigon's involvement with Western classical music as a site of travel (as compared to, for example, the stories of Louis Pasteur's or Alexandre Yersin's frequent visits) or a center for cultural exchange.
The examples of Pasteur's and Yersin's presence in Indochinese Vietnam are made known in the contemporary through many means of the naming of the streets (in Saigon's central District 1), the buildings, and stories of how each person courageously and compassionately contributed many medical advancements to Saigon, Vietnam, and the world. Thus, capitalizing on these "super-star" experts, the above means of framing both honor their contributions and elevate the position of Saigon/Vietnam through the fondness that these two expressed toward the place.
Back to Saint-Saëns, Doling (2014) observes that Saint-Saëns' travels to and tellings of Saigon spark one of the first of many fascinations of Western, particularly French, artists with the Orient, especially Indochina.
Doling's blog post (2014) is also one of the few available resources, in English still, that traces Saint-Saëns' footsteps: "Saint-Saëns’ epic journey to Saigon was his last major overseas trip. Five years later, his much-loved opera Samson et Dalila topped the bill in the 1900-1901 opening season of the new Théâtre Municipal de Saigon, along with Puccini’s La Bohème and Massenet’s La Navarraise."
However, here Doling does not cite any references to archival materials. Whereas Pasler (2012, 189) confirmed operatic performances Saint-Saëns' Samson et Dalila, Puccini’s La Bohème, and Massenet’s La Navarraise taking place at the Saigon Opera House during the 1900-1901 season, but not the extent of the sell-out of each performance. Thus, the popularity of these Western world-famous operas in Saigon then remains doubtful.
References:
Doling, Tim. 2014. "Saint-Saens in Saigon". HISTORIC VIETNAM. Last modified July 15, 2014 (17 April 2022).
Pasler, Jann. 2012. “Friendship and Music in Indochina." In Camille Saint-Saëns and His World, edited by Jann Pasler. Princeton, N.J.: Princeton University Press.
Creator
Phan Thi Minh Anh
Rights
Illustration’s copy rights:
https://augustusinsaigon.fuv.edu.vn/admin/files/show/255
Citation
Phan Thi Minh Anh, “Camille Saint-Saëns in Saigon,” Augustus in Saigon!?, accessed October 23, 2024, https://augustusinsaigon.uni-trier.de/items/show/85.