Camille Saint-Saëns could hardly complain that he has disappeared from the history of music. Indeed, the international fame of Le Carnaval des animaux, the Cello Concerto no.1, Danse macabre, the Second Piano Concerto, the ‘Organ’ Symphony and Samson et Dalila places him above Gounod and Massenet in the ranking of posterity. Yet, when one examines his vast catalogue of works, many treasures seem neglected by our concert halls: who is familiar with his string quartets and Piano Quintet? His oratorio in English The Promised Land? His numerous mélodies with orchestral or piano accompaniment? His operas Le Timbre d’argent, Ascanio, Proserpine or Déjanire? After publishing a selection of his correspondence, the Palazzetto Bru Zane has already recorded his cantatas for the Prix de Rome of 1852 (Le Retour de Virginie) and 1864 (Ivanhoé), followed by his tragédie lyrique of 1901 Les Barbares. Each of these rediscoveries has been greeted as of major importance, and so it seemed only natural that the Centre de Musique Romantique Française should devote a cycle to this eclectic and unpredictable artist. This will be the case in the 2016/17 season, notably with the resurrection of a large number of vocal and operatic works (mélodies with piano or orchestra, Proserpine, Le Timbre d’argent).