These days only Faust
remains in the standard repertoire, and only Roméo et Juliette
waits in the wings; the rest of the once-mighty Gounod’s operas gather dust—just one of many wrongs unlikely to be righted in the present stringent financial climate. And Liszt’s felicitous transcription of the Cradle Song from The Queen of Sheba
has shared the same fate, without the financial excuse.
from notes by Leslie Howard © 1992