The scene of _Le Villi_ is laid in the Black Forest. An open clearing shows us the cottage of Wulf, behind which a pathway leads to some rocks above, half hidden by trees. A rustic bridge spans a defile, and the exterior of the cottage is decorated with spring flowers for the festival of betrothal. With this, his first opera, Puccini adopted the Wagnerian plan which he has since always adhered to, of a preludial introduction, indicative of the general atmosphere of the drama to follow, in place of the conventional overture. As the curtain rises, Wulf, Anna and Roberto are seated at a table outside the cottage, and the chorus hail the betrothed pair in a joyful measure. As the lovers move off to the back, the chorus tells something of the prospects of the two young people. Roberto is the heir of a wealthy lady in Mayence. He will have to visit her for the arrangement of the details of his inheritance, and will then return to wed the bride. The chorus then sings a characteristic waltz measure, whirling and turning and singing that the dance is the rival of love. It is a quick impulsive measure in A minor, and foreshadows in a clever way the weird dance which later on plays such an important part in the scheme. Guglielmo, the father, is asked to join in the dance, and he does so after a short instrumental passage leading back to the dance and chorus proper. Guglielmo dances off with his partner and the stage is clear. Anna comes down alone as the orchestra finish off the rhythmic figure of the waltz. She holds a bunch of forget-me-nots in her hand, and sings of remembrance in a characteristic melody which at once reveals Puccini's individuality both in melody and structure. It varies considerably in the time, and has all that impulsive charm of movement with which Puccini always fits the situation and the sentiment. In actual structure the melody moves along in flowing vocal phrases, but they invariably drop on to an unexpected note and reveal thereby that piquancy of flavour which makes them singularly attractive. Anna is putting the bunch of flowers, the token of remembrance, in Roberto's valise when her lover comes in. Taking the little bunch he kisses it and puts it back, and then begs a token more fair--a smile. A characteristic duet then follows, in which Anna gives expression to the doubts she feels at her lover's enforced absence. A delightfully suave second section is sung by Roberto, in which he tells her of his love, strong and unending, born in the happy days of childhood. Anna catches the spirit of his fervent devotion, and the duet ends with their voices blending in a song of triumphant trust. The voices end together on a low note, but the orchestra carries the melody up to a high C by way of a climax, and then gives out a bell-like sound skilfully preceded by a chord of that somewhat abrupt modulation in which Puccini always delights, which portends the approach of night and the departure of Roberto.