Saint-Saëns's incidental music for Sophocles’ Antigone (Comédie-Française, 1893, trans. Meurice and Vacquerie) gives witness both to his engagement with culture classique and an experimental orientation in the context of fin-de-siècle music theatre. This essay situates Saint-Saëns's highly idiosyncratic score within the frame of late nineteenth-century research into ancient Greek music by François-Auguste Gevaert and Louis-Albert Bourgault-Ducoudray. It documents how Saint-Saëns aimed to participate in the creation of an authentic experience of ancient Greek theatre, one enhanced by the initiative of the Comédie-Française to stage its production at the open air Théâtre d'Orange in southern France. The article also shows the limitations of authenticity resulting from the nature of the translation as well as from Saint-Saëns's own compositional instincts.

中文翻译：

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圣桑和索福克勒斯

圣桑为索福克勒斯创作的音乐安提戈涅(Comédie-Française, 1893, trans. Meurice and Vacquerie) 见证了他与文化经典以及在世纪末音乐剧背景下的实验方向。这篇文章将圣桑的高度特殊的乐谱置于 19 世纪晚期 François-Auguste Gevaert 和 Louis-Albert Bourgault-Ducudray 对古希腊音乐的研究框架内。它记录了 Saint-Saëns 如何旨在参与创造古希腊戏剧的真实体验，这一体验得到了法国喜剧协会在法国南部露天剧院上演的倡议的加强。这篇文章还展示了翻译的性质以及圣桑自己的作曲本能导致的真实性的局限性。