Verdi, I agree, is simply the best as far as opera goes and, even though I know you are right to scoff at the plot of Trovatore, it never seems silly to me. In fact it is unstoppably dramatic and powerful to me and, of course, melodically sensational. Those three operas Rigoletto, Trovatore and Traviata are an extraordinary achievement written back to back like that.

As far as Offenbach is concerned, yes, You should really get the recordings you say but get The Grand Duchess of Gerolstein too if you can. It is hilarious.

I think you mean the "Organ Symphony" (Symphony No. 3) rather than a concerto from M. Saint-Saens..it has a piano part as well and it certainly pulls out all the stops. I think most concert hall had organs by this stage (1883)but I am not certain of my facts there.

In my current year, 1858, he had just got his first big job as an organist at the Madeleine and there is a load of impressive organ music which is hardly known these days.

I am pleased that we, as so often Claudio, like the same things in music.

'La Traviata' chucks in 'Libiamo' right at the beginning, and throws in a sensuous love duet and the heart-rending 'Sempre Libere' before the end of the act. There was a man with tunes to spare.

(BTW: I think you mean censor-dodging, not census-dodging.)
The only Offenbach that I really know is 'Tales of Hoffmann, although I have Anne Sofie von Otter's CD of Ofenbach arias which whets the appetite. I've seen her on YouTube (I think)n singing the drunk song from 'La Perichole' (sp) which is a delight. I must get some more Jacques. 'Orpheus in the Underworld' or 'la Belle Helene', I think.

Do you remember when comedians used to sing the duet "We run them in" from an Offenbach opus? It's a shame that the links between classics and comedy seem to be disappearing.

Saint Saens also did the organ concerto didn't he? Now there's a man with a sense of the ridiculous. And presumably, little financial sense, as an organ can't be as easily available as a violin which you can transport yourself.