Six years after the "Roman d'Elvire," the bills of the Opéra Comique announced the first performance of "Mignon," the instantaneous success of which must have helped to console the composer for former reverses. In constructing an opera book out of Goethe's "Wilhelm Meister," the librettists, Michel Carré and Jules Barbier, showed an even greater independence of spirit than they displayed when adapting the same poet's "Faust," for they deliberately altered the original dénouement, and instead of ending the work with Mignon's death, they prosaically allowed her to marry the hero, with whom she is presumably supposed to live happily for ever afterwards, possibly in order not to depart too abruptly from the conventionalities of the Opéra Comique Theatre, which has long been a match-making centre for the bourgeoisie.
Happily, Ambroise Thomas did not compose his "Hamlet" for the same boards, otherwise who knows but that the Prince of Denmark would not have been made to see the error of his ways, and wed the fair Ophelia, who would thereby have been saved from going mad, and spared the trouble of mastering the vocal acrobatics that are always indulged in by operatic heroines who are bereft of reason.
The marriage festivities given in honour of Hamlet and Ophelia would have enabled Ambroise Thomas to make use of his ballet music, and every one would have been left happy and contented, except perhaps the Ghost, who is sufficiently tedious not to deserve any sympathy. It is but fair to say that the requirements of habitués at the Opéra Comique have considerably changed. Realism has invaded the stage, and a tragic ending is no longer the exception to the rule in works destined for this theatre.
The poetical subject of "Mignon" was well suited to the refined nature of the composer's talent, and the musical value of the work has amply justified its success. What soprano vocalist is there who has not sung the suave cantilena, "Connais-tu le pays"?
The melodious duet between Mignon and the old harpist ("Légères Hirondelles"), the piquant little gavotte that precedes the second act, the tenor song, "Adieu, Mignon," and the brilliant overture, are amongst the most noteworthy and popular numbers of the opera.
The original interpretation of "Mignon" was of great excellence. Nothing could have been more perfect than Mme. Galli Marié's[7] assumption of the heroine, an actual embodiment of Ary Scheffer's well-known pictures of Mignon. I have heard many artists in this part, but none who so completely realised the character in all its details. Mme. Cabel[8] personified Philine, and the cast was completed by Achard (Wilhelm Meister), Couderc (Laertes), Bataille (Lothario), etc. Mme. Christine Nilsson, Mme. Minnie Hauk, and Miss van Zandt must be mentioned as successful interpreters of the title rôle. For the Italian version, Ambroise Thomas altered the small part of Frédéric, and added a vocal arrangement of the "Entr'acte Gavotte" for the late Mme. Trebelli.
"Mignon," it may be mentioned, was the opera that was being performed on the night of the terrible fire that destroyed the Opéra Comique in 1887.
In Germany and in Austria this opera has not proved less successful than it has in France, and the following appreciation of Dr. Hanslick[9] may not prove uninteresting: "This opera is in no place powerfully striking, and is not the work of a richly organised, original genius. Rather does it appear to us as the work of a sensitive and refined artist showing the practical ability of a master-hand. Occasionally somewhat meagre and tawdry, akin to the vaudeville style, the music to 'Mignon' is nevertheless mostly dramatic, spirited and graceful, not of deep, but of true, and in many instances warm feeling. Its merits and defects are particularly French, which is the reason why the first are more noticeable upon the French and the latter upon the German boards."
Having followed the example of Gounod in going to Goethe for a subject, Ambroise Thomas further trod in his illustrious confrère's footsteps by seeking for inspiration in the works of Shakespeare.
The opera of "Hamlet," performed for the first time in 1868, was the result. After having cruelly libelled the bard of Avon by presenting him in the character of a drunkard in his "Songe d'une Nuit d'Été," the composer of "Mignon" was but making an amende honorable in doing his best to provide one of the immortal poet's greatest works with a worthy musical setting. If his attempt can scarcely be said to have been crowned with the fullest amount of success, the fault is not entirely his own, unless he may be blamed for ignoring the fact of discretion being the better part of valour.