The Metropolitan Opera is about to open its 2018-19 season with “Samson et Dalila,” a work that has not been performed since 2006. The opera, which at one point was one of the most popular vehicles for a tenor-mezzo pairing, fell out of the repertoire for 12 years and is now returning in a new production with a starry cast.

While the French repertoire has seen a renaissance under Peter Gelb with such productions as “La Damnation de Faust,” “Romeo et Juliette,” “Werther,” revivals of “Pelléas et Mélisande,” “Dialogues de Carmélites,” and “Les Troyens,” there are still a lot of French works that haven’t received attention. In celebration of opening night, OperaWire takes a look at some of the French works that either need revivals or premieres at the Met (much in the same way we did last season with Bel Canto works).

Béatrice et Bénédict

The Metropolitan Opera has recently showcased three Berlioz works in its repertoire that have gained attention. However, this work, based on a Shakespearean comedy which premiered in 1862, has never been performed at the Metropolitan Opera. Part of that has to do with the opera’s history. It premiered to great success, but it never gained the same attention as Berlioz’s other works thereafter. However, in recent years such companies as the Seattle Opera, Lyric Opera of Chicago, Houston Grand Opera, Opera Boston, Theater an der Wien, and Glyndebourne have revived the work. Such notable stars as Daniela Mack, Alek Shrader, and Paul Appleby have also performed the work to great success.

Sapho

Gounod is mostly known for “Faust” and “Roméo et Juliette” but he did compose numerous other operas. One such work was “Sapho,” which today is known for its aria “Ô ma lyre immortelle,” which has been recorded by the likes of Elina Garanca, Anita Rachvelshvili, Sonya Yoncheva, Shirley Verrett, and Vesselina Kasarova, among others. The work premiered in 1851 with only nine performances and was a huge success. It was later revised into a two-act version and later a four-act version, but it never became a mainstream success. In recent years the work has received two recordings, its aria is performed frequently and it will be performed by the Washington Concert Opera this season by Kate Lindsey.

Pénélope

Faure never established himself as a leading opera composer but he did compose this little-known work which premiered in 1913 and was dedicated to Camille Saint-Saëns. The opera was through-written with no arias and while it was a flop, it has been recorded by such artists as Régine Crespin and Jessye Norman. Recently, Anna Caterina Antonacci has taken on the role, performing it throughout the world. The work has never been presented at the Met, but it is a fierce Diva vehicle.

Lakmé

Who doesn’t know the duet from Lakmé? It’s been performed around the world and used in commercials and films and has been a vehicle for many sopranos and mezzos. The Bell song is another section that has been performed on multiple films, including the recent Oscar-nominated film “Florence Foster Jenkins.” But interestingly, enough even though these two pieces have gained mainstream attention Leo Delibes’ opera has been absent in the last few decades. The work used to be popular at the Metropolitan Opera where it was performed a total of 63 times and was Lily Pons’ signature role. However, since 1947, when the company last performed it, the opera has fallen out of the Met’s repertoire and has universally been absent from many companies. However, with so many rising star coloraturas, this is one opera that deserves some attention.

Les Huguenots

For years Meyerbeer was overshadowed by many composers. Yet the Metropolitan Opera showcased many of the composer’s works well into the 70s. However, the composer fell out of the repertoire and this work, in particular, has not performed at the Met since 1915. Even though Sutherland used it as a vehicle throughout her illustrious career, she would never perform it at the Met. The work has been recorded numerous times and is now receiving revivals around the world. Such companies as the Opéra de Paris and the Deutsche Oper Berlin have been key to the revival of this Meyerbeer masterpiece, as have been Juan Diego Flórez and Ermonela Jaho.