The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-01
'MIREILLE' HAS
BEAUTIFUL DEBUT
GOunod's Opera Is Produced at
Metropolitan With Spleen
did Effect.
NINE. BARRIENT0S WINS
Charles Hackett Sings With
Grace of Style-ChOrus
Does Good Work.
NINE. BARRIENTOS WINS

''Mireille," opera in three acts book
by Michael Care. music by Charles
Gounod was performed at the Metro
politan Opera House last evening. 1t
was followed by the Russian ballet
"Petruschka." The opera was given In
the greater city in the early sos. but
was new to the Metropolitan Opera
House. Its long silence invited wonder
as to its sudden resurrection. but the
presentation of the work disclosed the
reason 1t provided Mime. Barrientos
with another role. and in these days 1t
Is no easy matter to freshen up she re-
pertoire of fiorid singer.
The story Is Of Provencal rustic life.
1t was taken from the masterpiece OF
Frederic Mistral. the modern Provencal
poet (born 1880, who strove to restore
the old dialect to the dignity of lit
erary medium such as 1t had been in
the era of the troubadours Mistral
was the son Of n well to do farmer. His
mother was a pious peasant. who taught
him all the old songs and legends of
Provence. The first Impressions thus
gained by susceptible nature made
the charms of his poem 'Mireille."
where Poem and Opera Diner.
1t Is q simple country tale of a rich
girl with a poor lover and the bitter
opposition of the purse proud father
In her despair the girl wanders over
great width of the country to seek the
Church of the Three Marys in the hope
that they will aid her. She becomes ex-
hausted and Gin the poem. not the
opera) dies in the presence or her
stricken parents and lover. In the opera
phe miraculously RECEIVERS. 1t was not
this ancient and we'll worn tale that
made Mistrals poem, but the descrip-
tons Of Provencal life, character, Gus
toms. scenery and legends with which he
enriched his story.
Precisely these necessarily disappear
r, the construction OF an opera book
All that is left Is the bare story. a very
Thin and watery one, which becomes
positively infantile in the adaptation OF
Mr.. Care 1t is impossible to read the
dialogue without thinking of the chatter
81 little children playing theatre" A
hore foolish and feeble opera book 1t
would be difficult to find
Gounod's interest in IL is not astonish-
ng. He was powerfully drawn by the
Provencal movement in literature. and
his musical instincts urged him to seek
10 do something for the old music. such
Is Mistral was trying to do for the old
poetry. The composer was wise enough
20 preserve his artistic freedom. In a
etter to Mistral he thanks the poet for
promising to tell him where to look for
Inspiration, but AYERS that he will en-
ieavor to initiate the style of Provencal
music in melodies quite his own. His
mind seemed to be occupied chiefly with
The duet for Vincent and MfreiHe, and
Ihe farandole danced before the old
Roman arena in the second act.
nuat aud Ea -, N oI~
The duet, or as Gounod calls It, chan
ION deux. is very well in its place and
kind. but it will not remain in the
memory as one OF Gounod's best concep-
ions. The farandole is also a commend
tble piece of composition OF respectable
iuality The cold truth is that most OF
The music of "Mreille" is affected by the
i.mpering sentimentality and artificial
,ucolics of Cares Place de rOpera
PEASANTS. Melodious 1t always Is, but
he Lady Juliet had no more polite waltz
ong than that which HirciHe sings in
The first scene. while Vdlentin's in
'ective against the betrayed Marguerite
vas far more eloquent than the scolding
" MTeille's irate father.
The best number in the score Is the
folo of Vincent In the last scene, but
whether 1t originated in any attempt of
Sounod to battle his spirit in local color
must be a matter of conjecture Ii
bounds very much like the urban music
" the Partisan market place. There is
IN excellently made ensemble at the end
the second act, but 1t Is pure opera.
Among the other numbers which have
genuine beauty. IL no striking local char
letter, are the grand air OF MireilIe-
Mon cpur ne peut changer"
harming air in the third act, 'Heureux
lett berger" and the shepherds song
lie jour Sc leve" There are good
Al, a1a he
published naturally in gently undulat-
ng measures. with the time honored aid
" the oboe.
Refined Orchestration.
The orchestration is generally refined
Ind continent The angry passions eX-
iress themselves In vigorous declama-
ion AL is as it should be. and can be
njUyed~Hk-h a great peace OF the soul
10 exciting moment will shock the SEN
htive nature. No contorted modernstiC
homes break across the sunlit sweetness
" the score.
The production was very pretty. We
IRE indeed accustomed to scenery at the
Metropolitan. We get 1t in large guam,
tiles In these delightful days of the or.
tanic union OF the arts tributary to the
~ lrama. For "Mireille" no less a per
a tonnage than Victor Maurel supplied
80 nme sketches. II he designed the splen
y erves general thanks for demonstrate
ng that a beautiful stage picture can bt
made by a painter without help from
u he carpenter.
.sy The performance was one of mild In
IN crest and commendable parts. Nine
Nv Barrtentos had not to make known las
venfng her strenuous methods o
~ heciting tones or impelling apparent!
III eluctant staccati to seek the ears o
IA atient auditors. She sang first at on
I'll tide OF the gilded proscenium arch AM
hen at the other, always with an ap
~ Ealing hand outstrecthed and an ex
'8 lression of anxiety on her countenance
nucli of the song which she thus pro
iuced was agreeable TO hear and thu
IA he ultimate purpose of grand operi
VA vas accomplished.
Mr.. Hackett was a perfectly gentle
M banlike lover and sang his music witt
trace of style. II not always with i'm
s. Seccable tone. Mr.. Whitehill strod
VI tpout I'm tine guise Of the. opposing
IA lspirant for the favor OF Mirielle an
-, discharged his vocal duties with honor
& Mr. Rothier ragged nobly as the pros
yerous farmer who sought better mattel
|H| Or his daughter. Kathleen Howar
"a adequately filed the requirements of he