New-York tribune., 1919-02-23
By Katharine Wright

When Gounod's opera "Mireille" is
produced at the Metropolitan Opera
House next Friday evening, the per-
romance will introduce Victor Maure
In new role-that of designer and
painter of scenery. The distinguished ID
singer, whose home is now New York
was asked bv Mr.. Gatti to undertake
this work as the result of a series of
condolences. To begin with, NJ Maurel
has always dabbled in painting. As
John Sargent turns to his piano for
recreation. so Maurel has for wears
taken up his palette. Back in London.
In his salad days, when he was singing
at Covent Garden, the best known
painters of the day were his constant
companions. James Tissot, Whistler
and Maurel were as Athos, Porthos and
Aramis, and they led joyous, carefree
existence.
His relations with painters in Lon
don and his knowledge of the art re-
suited in his becoming art critic for
The Saturday Review" Once he and
the editor in chief of this publica-
tion were strolling through an exhibi-
tion on vanishing day. "Maurel, why
don't you write our art criticisms 2"
asked the editor, impressed with the
wise and entertaining comments made
by his friend. "My English is not good
enough" answered the singer But the
editor thought otherwise, and the mat
ter was arranged. A few days later
MaurePs first article appeared.
AS time went on and the singers
days were more and more filled with
musical matters, he had only stray mo-
ments to devote to his other gift.
Now that he has retired from partici
patton in active musical life. for with
very few of the elect among singers
having reached glorious heights of at
tainment, he does not choose to devote
the remainder of his life to series of
continuous farewell" performances
M. Maurel has turned to his painting
with renewed enthusiasm, At his
nome IN New Jersey the singer has
painted eagerly for several summers.
The fruits of these labors are soon to
be exhibited in New York, later in
Paris. Oddly enough, his painting has
once more led this seasoned artist to
the door CT the opera house. But his
ability to execute the task required
rests upon still firmer claims. M. Mau-
rel is the descendant of a long line of
French architects. Furthermore. he ia
Provencal. AS boy he was initia-
ted by his father, the designer of Mon
te Carlo, into the mysteries of archi-
lecture. He accompanied him to Aries
and other cities of Provence and be-
came an authority on the life, man.
ners and customs of that part of
France. Who better fitted to under
take the staging of the Provencal poet
Mlstral's "Mireio," an expression of
what is most characteristic in the rural
life Of that district? Mr.. Gatti was
reminded of the singers painting pro-
cllvlties when he met him early in the
autumn with Boris Anisfeld, the Rus
sian artist.
Still hanging around painters" re-
marked the sagacious director to his
old friend with one of his occasional
smiles. "Why don't you do something
for the Metropolitan NJ Maurel
promptly submitted some sketches he
had made originally for Verdi himself,
representing the judgment scene in
aida" with Radames facing his accus-
ers in full view of the audience instead
of exchanging their remarks behind
the drop curtain. This effect, accord
ing to the designer, was tried with sue
cess in Italy, but owing to certain
limitations of the Broadway opera
house it was found to be impracticable
here. "Mireille" was the next thought
that occurred to Mr.. Gatti. For ten
days NJ. Maurel shut himself up in his