ection;" the first two scenes in the last act being included in one
tableau, and the third in another. The characters represented are Mary
Magdalen, Martha, Jesus, and Judas, the chorus parts being assigned to
the Disciples, Pharisees, Scribes, publicans, soldiers, servants, holy
women, and people.

After a short introduction, pastoral in character, the work begins with a
scene representing Mary at the fountain of Magdala near sunset, among
women, publicans, Scribes, and Pharisees, strolling along the banks of
the little stream that flows from it. The women sing a short chorus full
of Oriental color anticipating the approach of the beautiful Nazarene. A
group of young Magdalens pass along singing blithely of love and gay
cavaliers ("C'est l'heure ou conduisant de longues Caravanes"), and the
song of the women blends with it. Next follows a chorus of the Scribes,
discussing this Stranger, and pronouncing Him an impostor, and again the
young Magdalens take up their strain. The second number is a pathetic
aria by Mary ("O mes Soeurs"), which is full of tender beauty. The women
shrink back from her and join in a taunting chorus ("La belle Pecheresse
oublie"). Next, Judas appears upon the scene, and servilely saluting Mary
counsels her to abandon sadness and return to love, in an aria which is a
good illustration of irony in music. It is followed by a powerful and
mocking chorus of women, Pharisees, and Scribes ("Vainement tu pleures"),
in which she is taunted with her shame, despite her sad appeals for pity.
The next scene is an aria and trio. Jesus appears in their midst, and in
a calm impressive aria ("Vous qui fletrissez les Erreurs des autres")
rebukes them. Mary prostrates herself at His feet and implores pardon,
and the scene closes with a trio for Jesus, Mary, and Judas, leading up
to a strong concerted finale closing the act, in which Jesus bids the
Magdalen rise and return to her home, whither He is about to repair.

The second act opens in the Magdalen's house, which is richly decorated
with flowers and redolent with perfume. It begins with a sensuous female
chorus ("Le Seuil est pare de Fleurs rares") followed by Martha's
admonition to the servants that He who is more powerful than earthly
kings cares not for vain shows. The chorus resumes its song, and at its
close Judas appears and a long dialogue follows in which Martha rebukes
his hypocrisy. As he departs, Mary and Martha in a very graceful duet
discourse of