But Fabrice sees Clélia again, feeding her birds in the prison courtyard – and although she has agreed with her father to marry the Marquis Crescenzi, love is rekindled and he would rather stay in prison near her than escape. Clélia decides to save Fabrice who is in danger of poisoning because of his Bonapartist views. Gina plans to free Fabrice, but he only agrees to go if Clélia meets him. In the final tableau of the act they meet and Clélia swears to help him, but after that will never see him again. The two women give Conti sleeping draft and Fabrice flees with Gina. In the first tableau, set in Locarno, Gina watches over Fabrice, who has started to paint. The feelings of the freed Fabrice are explored. Mosca who now realizes the extent of the attachment of Fabrice for Clélia, reports that following the death of the prince, the judgement condemning Fabrice can be lifted. The young man departs for Parme. Mosca once more opens his heart to Gina. Next, Fabrice and Clélia meet at the charterhouse, and in darkness and Fabrice blesses Clélia's marriage to the marquis. A chorus tells of the life of Fabrice from his attachment to the Napoleonic cause to his retreat into orders. In the final scene, Fabrice gives a homily on the rejection of the unhappy sinner, such as he is. He prays for forgiveness. Sauguet's longest work is traditional in form, but whereas earlier works had been characterized by clear textures, limpid harmonies and relatively straightforward melodies, his music now takes on a more complex harmonic language, suggesting influence of contemporary Russian symphonists. Darius Milhaud (who attended seven consecutive performances) claimed that he knew nothing of the quality of "Chartreuse de Parme" since "Pelléas et Mélisande" or "Pénélope". Stravinsky situated the opera "in the line of Bizet, Delibes, Milhaud, Poulenc", while Charles Koechlin summed up his thoughts on the work in three words: "", and made a comparison with Chabrier. The work was broadcast by French radio. The opening of the first tableau contains a gendarmes chorus worthy of an opérette. From there the music grows via a bravura D major to a more tender E-flat section where the principal three characters one by one express their feelings, leading to a trio.