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Updated: June 17, 2025
A bell rang, and Evelyn said: "Now, Mother, will you take my arm and we'll go down to chapel together?" "And after Benediction I will take a turn in the garden with you," the Prioress said. She was so weary of singing Gounod's "Ave Maria" that she accentuated the vulgarity of the melody, and wondered if the caricature would be noticed. "The more vulgarly it is sung the more money it draws."
"You are playing from the Freischutz, aren't you?" she asked. "No," said Theodore, politely, "I'm playing Gounod's Faust." "Your brother looks frightfully respectable," said the little dark one, whose name was Rieke; "he's different to you, you old villain." "Oh! well, he's going into the Church," whispered the lieutenant.
Poor old Theophilus and I had a touching meeting. He's about as lonely a thing as you could wish to meet. He married an American heiress, who died about eight years ago, and he's as rich as Croesus. We're bosom friends now. As for Mrs. Ronald I sang her songs of Araby including Gounod's 'Ave Maria' with lots of tremolo and convinced her that I'm a saintly personage.
The fourth act is known as the Cathedral act, and established Gounod's reputation as a writer of serious music. It opens with a scena for Marguerite, who has been taunted by the girls at the fountain ("Nascose eran l
Margaret is kneeling in the shadowy minster, striving to pray, but the voice of conscience stifles her half-formed utterances. In Gounod's libretto, the intangible reproaches which Margaret addresses to herself are materialised in the form of Mephistopheles, a proceeding which is both meaningless and inartistic, though perhaps dramatically unavoidable.
'I should never be surprised at anything where father was concerned, said Rose coldly, with a slight hint of aloofness and of mental superiority. 'Not at anything. Leonora got up, and, leaving the room, went into the garden through the side door opposite the stable. She could hear Millicent practising the Jewel Song from Gounod's Faust.
The most celebrated of these operas was entitled "Otto." It was a work composed of one long string of exquisite gems, like Mozart's "Don Giovanni" and Gounod's "Faust." Dr. Pepusch, who had never quite forgiven Handel for superseding him as the best organist in England, remarked, of one of the airs, "That great bear must have been inspired when he wrote that air."
"The music of what?" said the bandmaster, screwing up his face as if the sound were unpleasant to his ears. "Gounod's opera, sir, I said. I know it pretty well." "Dear me! you seem to know everything `pretty well; perhaps you know how to conduct `pretty well, and would like to take my stick and lead?"
Weak and wandering though she is, she refuses, and dies to the chant of an angelic choir, while Faust is dragged down to the abyss by Mephistopheles. Gounod's music struggles nobly with the tawdriness and sentimentality of the libretto. A good deal of the first and last acts is commonplace and conventional, but the other three contain beauties of a high order.
In an access of grief and remorse her father promises to revoke his dismissal of Vincent, whereupon Mireille speedily recovers and is united to her lover. Gounod's music seems to have borrowed the warm colouring of the Provençal poet's romance. 'Mireille' glows with the life and sunlight of the south.
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