matic solo for the Friar, "Bevi allor questo filtro," as he gives
the potion to Juliet, in the fourth act; and the elaborate orchestral
prelude to the tomb scene in the last act.

MIREILLE.

"Mireille," a pastoral opera in three acts, words by M. Carre, the
subject taken from "Mireio," a Provencal poem by Mistral, was first
produced at the Theatre Lyrique, Paris, March 19, 1864, with the
following cast:--

MIREILLE Mme. MIOLAN-CARVALHO
TAVENA | Mme. FAURE-LEFEBVRE.
ANDRELUNO |
VINCENZINA Mlle. LEROUX.
VINCENZO M. ISMIEL.
URIAS M. PETIT.
RAIMONDO M. MORINI.

In December, 1864, the opera was reduced to three acts, in which form
it is still given. In this abridged shape, and with the addition of
the waltz now placed in the finale, it was brought out in London with
Titiens, Giuglini, Santley, and Trebelli in the cast. In English it is
always given under the title of "Mirella." The first scene opens in a
mulberry grove, where Mireille is rallied by the village girls upon
her attachment to Vincenzo, the basket-maker, and is also warned by
Tavena, the fortune-teller, against yielding to her love, as she
foresees that her father, Raimondo, will never consent to the union.
In the next scene she meets Vincenzo, and the warning of Tavena is
soon forgotten. The lovers renew their pledges, and agree to meet at
the Chapel of the Virgin if their plans are thwarted. The second act
introduces us to a merrymaking at Arles, where Mireille is informed by
Tavena that Vincenzo has a rival in Urias, a wild herdsman, who has
openly declared his love for her, and asked her hand of her father.
Mireille repulses him when he brings the father's consent. Ambrogio,
Vincenzo's father, accompanied by his daughter, Vincenzina, also waits
upon Raimondo and intercedes in his son's behalf, but is sternly
refused. Mireille, who has overheard the interview, declares to her
father her irrevocable attachment for Vincenzo. Her declaration throws
him into such a rage that he is about to strike her, but she disarms
his anger by appealing to the memory of her mother.

The last act opens on a barren, sunburnt plain. Andreluno appears,
singing a pastoral song to the accompaniment of his bagpipe, followed
by Mireille, who is toiling across the hot sands to meet her lover at
the Chapel of the Virgin. She is met by Tavena, who assures her that
Vincenzo will keep his appointment, and then returns to Arles to ple