Mirèio-IV- the drama, the poem, the music;

This beautiful aria is at the last act and reveals the tenor's ability, unusual to have it at act V, really.
Still, it is celestial so to speak as Vincent asks the angels'protection for his beloved .
This is not following the actual story in the poem, it is more the spirit of it.
What motivated Mirèio's journey to the Saintes -Maries -de la mer is what Vincènt told her during their first long meeting on the mullberry.
He told her Tavèn (masco in Provençal, because she has magic spells) can cure sunstroke, and also the influence of The saintes if anything happens to their love, or to one of them, all they have to do is to meet at the Chapel.
The three Maries (Jacobi, Salomé, Magdelene) are in popular faith traditionally very important.
The position of this chuch in Camargue, by the sea, is also the end of important pilgrimages for the gypsies every year. The three Maries are believed to have come down river rhône in a frail boat and settled by the sea after JC's death. They were worshipped by sailors and farmers for protection, solutions to problems could be found by miracles in this Chapel .
Mirèio sets off to the Saintes in the poem because her father has refused Ambroise's proposal for his son. Maître Ramon wants to choose the richest husband for his daughter, not a poor basketweaver! Mirèio has told both parents that she will stick to her choice (she has refused three pretenders). In the opera the only one who matters is Ourrias the rich cowherd.
She stands out as a more modern character than in the opera. She opposes her will and eventually decides to escape at night to join her lover at the Saintes.( As they promised to do if nasty things happened to one of them).
It is not the fight with Ourrias, like in the opera and knowing that Vincèn is wounded and being looked after by Tavèn in her Val d'enfer, which makes her decide to flee the mas. It is her opposition to her father and her strong love to join Vincent.
This aria is then in the spirit of the poem as Vincent goes to the Saintes because he has heard she fled from home to their meeting point.
Crossing that sunny and desertic space without her hat,( she left in a terrible turmoil
so forgot her hat) was fatal . This long walk is both successful in the poem and in the opera. It will be the end of my journey with Mirèio and Mireille!
Alain Vanzo was a fine Vincent on opera stages. Here is this celestial rendition.
I could not help dreaming when I saw young Sebastien Guèze that Rolando could sing this part with the intense feelings he puts in his singing. Being a fantastic Romeo,
he could be an equally charming Vincent! This part is said to be less difficult for
tenors. So may be one day....sweet dreams! Rolando singing Vincent, perhaps in Marseilles opera-house, by the sea! And his obsidian hair and looks will suit Mistral's young hero!