George P. Upton

[Pastoral opera, in three acts; text by CarrÉ. First produced at the ThÉÂtre Lyrique, Paris, March 19, 1864.]

PERSONAGES.

Mirella, daughter of Raimondo.

Tavena, a fortune-teller.

Andreluno, a shepherd boy.

Vincenzina, sister of Vincenzo.

Clemenza, a peasant girl.

Vincenzo, lover of Mirella.

Urias, his rival.

Raimondo, a wealthy farmer.

Ambrogio, father of Vincenzo.

[Villagers, citizens, etc.]

The scene is laid in Provence; time, the last century.

The opera of “Mirella,” in France known as “Mireille,” is founded upon the “Mireio” of Mistral, the ProvenÇal poet, and was originally written in five acts. Subsequently it was reduced to three acts and a waltz was added to the finale. Though one of the lighter of Gounod’s operas, and not very strong dramatically, it has great lyric beauty. The first scene opens in a mulberry grove. Mirella is rallied by the girls upon her love for Vincenzo, the basket-maker, and is also warned by Tavena, the fortune-teller, against yielding to her attachment, as she foresees that Raimondo, Mirella’s father, will never consent to the union. When she meets her lover, however, they renew their pledges and arrange, if their plans are thwarted, to meet at the Chapel of the Virgin.

The second act opens with a merry-making at Arles. Tavena informs Mirella that Vincenzo has a rival in Urias, a wild herdsman, who has asked her hand of her father. Mirella however repulses him when he brings the father’s consent. Ambrogio, Vincenzo’s father, and his daughter, Vincenzina, intercede with Raimondo in Vincenzo’s behalf, but in vain. Mirella, who has overheard them, declares to her father her irrevocable attachment for Vincenzo, which throws him into such a rage that he is about to strike her. She is saved from the blow by appealing to the memory of her mother.

The last act opens upon a desolate sunburned plain. Mirella appears toiling across the hot sands to keep her appointment with her lover at the Chapel of the Virgin, accompanied by Andreluno, the shepherd boy, singing to the accompaniment of his pipe. Tavena meets them, and assures Mirella that Vincenzo will keep his appointment, and then returns to Arles to plead with the father in Mirella’s behalf. The poor girl arrives at the chapel nearly prostrated with the burning heat. Vincenzo soon appears, and is shortly followed by Raimondo, who is so affected by the pitiable condition of his daughter, that he gives his consent to their union. A biographer of Gounod has condensed the story of the opera into these few words: “A rich young girl, a poor young man, an ill-fated love; and death of the young girl by sunstroke.” In the revised version the dÉnouement is happy instead of tragic.

The first act opens with the pretty and graceful pastoral chorus of the maidens under the mulberry-trees, “Sing, Happy Maidens, as we gather.” The second act also opens with an equally graceful chorus and farandole, “The Gay Farandole never fails to delight,” followed by a beautiful ProvenÇal folk song, “Evening is Sweet with Summer Flowers,” which is full of local color. Tavena sings a quaint fortune-teller’s roundelay, “’Tis the Season of the Year,” and in the next scene Mirella has a number of rare beauty, “The Frowns of Fortune I fear no longer,” in which she declares her unalterable love for Vincenzo. The finale of this act with its vigorous aria for Mirella, “At your Feet, behold, I remain,” is the only really dramatic episode in the opera. The third act opens with the quaint little song of Andreluno with oboe accompaniment, “The Day awakes,” and also contains a plaintive song for tenor, “Angels of Paradise.” It closes with a waltz song, “Gentle Bird of the Morning,” which is most lavishly embellished and ends the quiet, naÏve, little pastoral opera with a brilliant vocal pyrotechnical display.