28 Dec 2005
GOUNOD: Faust
Faust, Opéra en cinq actes
Music composed by Charles Gounod. Libretto by Jules Barbier and Michel Carré after Faust by Johann Wolfgang von Goethe
Guglielmo Tell: Melodramma tragico in four acts
Mefistofele, Opera in un prologo, quattro atti e un epilogo
Music and libretto by Arrigo Boito (1842-1918), based on Faust: Eine Tragödie by Johann Wolfgang von Goethe
La Forza del Destino, a melodramma in quattro atti
Music composed by Giuseppe Verdi. Libretto by Francesco Maria Piave based on the drama Don Alvaro o La fuerza del sino by Angel Perez de Saavedra
Martha, an opera in four acts.
Music composed by Friedrich von Flotow. Libretto by Wilhelm Friedrich.
First performance: 25 November 1847 at Theater an der Wien, Vienna.
La serva padrona, intermezzo in two parts
Music composed by Giovanni Battista Pergolesi. Libretto by Gennar'antonio Frederico.
First performance: 28 August 1733, Teatro San Bartolomeo, Naples.
Fidelio, an opera in two acts
Here we offer three selections from Macbeth with Maria Callas performing the role of Lady Macbeth. These are from a live performance given on 7 December 1952 at La Scala. Victor de Sabata conducts the Orchestra del Teatro alla Scala, Milano.
VERDI: Macbeth, melodramma in quattro parti.
Music composed by Giuseppe Verdi. Libretto by Francesco Maria Piave, based on the play by William Shakespeare.
Music composed by Johann Strauss II.
Libretto by Richard Genée based on Henri Meilhac and Ludovic Halévy/Karl Haffner.
First performance: 5 April 1874 at the Theater an der Wien, Vienna.
Die lustigen Weiber von Windsor (The Merry Wives of Windsor), a comical-fantastical opera in three acts with dance.
Fedora, a melodrama in three acts.
Umberto Giordano, composer. Arturo Colautti, librettist, based on the play with the same name by Victorien Sardou
First performance: 17 November 1898 at Teatro Lirico Internazionale, Milan
Tosca, a melodrama in three acts
Giacomo Puccini, composer. Libretto by Luigi Illica and Giuseppe Giacosa, based on the play La Tosca by Victorien Sardou.
First performance: 14 January 1900 at Teatro Costanzi, Rome
Victorien Sardou (1831-1908) was a popular French dramatist during the later half of the 19th Century. He, along with Eugène Scribe, combined melodrama and realism to a produce a more serious form of drama that emphasized careful plot construction.
A few years ago, I had the rare experience of attending a performance of Tosca in a small farm community where opera was a fairly new commodity. After the second act ended, with Scarpia's corpse lying center stage, I happened to overhear a young, wide-eyed woman say to her companion, "I knew she was upset, but I didn't think she'd KILL him!"
Mozart and Salieri, an opera in one act consisting of two scenes.
Nicolai Rimsky-Korsakov (1844-1908), composer. Libretto derived from Alexander Puskhin's play of the same name.
First performance: 7 December 1898 in Moscow.
Boris Godunov, an opera in four acts with prologue
Modest Mussorgsky, composer. Libretto by the composer, based on Alexander Pushkin's drama Boris Godunov and Nikolai Karamazin's History of the Russian Empire
First performance: 8 February 1874 at the Mariinsky Theatre, St. Petersburg
Eugene Onegin, lyrical scenes in three acts and seven tableaux.
Pyotr Il’yich Tchaikovsky, composer. Libretto by the composer, based on the verse novel by Aleksandr Sergeevich Pushkin.
First performance: 29 March 1879 at the Maliy Theatre, Moscow.
Aleksandr Sergeevich Pushkin (1799-1837) is generally considered Russia’s greatest poet. According to Andrew Kahn, his contemporaries held him “above all the master of the lyric poem, verse that is famous for its formal perfection and its reticent lyric persona, and infamous for its resistance to translation.” [Alexander Pushkin, The Queen of Spades and Other Stories, trans. Alan Myers, Oxford and New York: Oxford University Press, 1997]
The Queen of Spades (Pique Dame), an opera in three acts.
Pyotr Il’yich Tchaikovsky, composer. Modest Tchaikovsky and composer, librettists.
First performance: 19 December 1890 at the Mariinsky Theatre, St. Petersburg.
Manon Lescaut, dramma lirico in quattro atti
Giacomo Puccini (1858-1924), composer. Luigi Illica and Domenico Oliva, librettists.
First performance: 1 February 1893 at Teatro Regio, Turin.
Faust, Opéra en cinq actes
Music composed by Charles Gounod. Libretto by Jules Barbier and Michel Carré after Faust by Johann Wolfgang von Goethe
Streaming Audio
First performance: 19 March 1859 at Théatre-Lyrique, Paris
Principal characters
| Marguerite | Soprano |
| Faust | Tenor |
| Méphistophélès | Bass |
| Valentin | Baritone |
| Wagner | Baritone |
| Mr Siébel | Soprano |
| Marthe | Soprano |
Synopsis
Act I
Faust's cabinet.
The philosopher Faust is profoundly depressed by his inaptitude to reach fulfillment through knowledge and thinks of committing suicide. He pours the contents of a poison phial in a cup, but stops suddenly drinking the deadly liquid when he hears a pastoral choir. He damns happiness, science and faith and calls on Satan to guide him. Méphistophélès appears (duet: " Me voici "). Faust confesses to him that he looks for youth, more than wealth, glory and power. Méphistophélès agrees to fulfill the wishes of the philosopher, in exchange for his services in the infernal regions. As Faust hesitates to accept this condition, Méphistophélès has Marguerite appear to him sitting at her spinning wheel. Faust signs then the document and is transformed into a noble young person.
Act II
The carnival at the city gates. One sees a cabaret on the left.
The curtain rises on a joyful choir of students, soldiers, bourgeois, girls and stout women (choir: " Vin ou Bière "). Valentin enters, holdin in his hand a medal which his sister Marguerite gave to him; he is about to leave for war, and is giving instructions to his friends, notably to Wagner and Siébel, so that they take care of her. They sit down to take a last glass. Méphistophélès appears suddenly, and amuses them with a song on the golden veal (round dance: " Le veau d'or "). Valentin gets angry when Méphistophélès talks lightly about his sister, but his sword breaks in the air before reaching its target. Confronted with a supernatural power, Valentin and his companions brandish crossshaped knobs of their swords in front of the devil (choir: " De l'enfer "). Méphistophélès remains alone, soon joined by Faust and by a group of village waltzers (waltz and choir: " Ainsi que la brise légère "). When Marguerite appears among them, Faust offers her his arm; she refuses with modesty and goes away deftly.
Act III
Marguerite's garden.
Siébel is in love with Marguerite and sets down a bouquet for her (stanzae: " Faites-lui mes aveux "). Faust and Méphistophélès enter the garden; while the devil is in charge of finding a present for Marguerite, Faust shouts out to Marguerite's house and to the defending embrace of nature (cavatina: " Salut, demeure chaste et pure "). Méphistophélès returns and sets down a casket with jewels for the girl. Marguerite arrives, wondering who was the young gentleman who approached her earlier. She sings a ballad on the king of Thulé, discovers the bouquet and the casket of jewels and, quite incited, tries earrings and necklace (scene and air: " Il était un roi de Thulé "). Marthe, Marguerite's governess, tells her that these jewels have to be the present of an admirer. Méphistophélès and Faust join the two women; the first tries to seduce Marthe, while Faust converses with Marguerite, who shows herself still very reserved (quartet: " Prenez mon bras "). While Faust and Marguerite disappear for a moment, Méphistophélès casts a fate to the flowers of the garden. Marguerite and Faust return and she allows Faust to kiss her (duet: " Laisse-moi, laisse-moi, contempler ton visage"); however, she steps back suddenly and asks him to go away. Convinced of the insignificance of his efforts, Faust is resolved to abandon his project altogether. He is stopped by Méphistophélès, who orders him to listen to Marguerite at her window. When hearing that she hopes for his quick return, Faust shows himself and takes her hand; as she drops her head on Faust's shoulder, Méphistophélès cannot refrain from laughing.
Act IV
Marguerite's room.
Marguerite has given birth to Faust's child and is ostracised by girls in the street. Saddened because Faust abandoned her, she sits down at her spinning wheel (air: " Il ne revient pas "). Siébel, always faithful, try to encourage her. A square. The return of Valentin is announced with soldiers' walking, and it becomes clear that things are going to deteriorate. Having heard Siébel's evasive answers to the questions he asked about his sister, Valentin rushes furiously in the house. While he is inside, Méphistophélès satirically plays the role of lover, giving a serenade under Marguerite's window (serenade: " Vous qui êtes l'endormie"). Valentin reappears and demands who took his sister's innocence. Faust pulls his sword; during the ensuing duel, Valentin is lethally wounded. As he dies, he throws back all responsibility on Marguerite and damns her for the eternity. A cathedral. Marguerite tries to pray, but is prevented from it by,first, the voice of Méphistophélès, then by a devils' choir. She finally succeeds in finishing her prayer, but faints when Méphistophélès releases a last curse.
Act V
The mountains of the Harz. The night of Walpurgis.
One hears a choir of will o' the wisps when Méphistophélès and Faust appear. They are quickly surrounded by witches (choir: "Un, deux et trois"). Faust tries to run away, but Méphistophélès hurries to take him somewhere else. A decorated, populated cave of queens and courtesans of the Antiquity. In the middle of luxurious banquet, Faust sees Marguerite's image and demands for her. While Méphistophélès and Faust leave, the mountain closes and the witches return. The inside of a prison. Marguerite is imprisoned for killing her child, but, thanks to Méphistophélès's help, Faust obtains the keys of her cell. Marguerite wakes to the sound of Faust's voice; they sing a duet of love (duet: "Oui, c'est toi que j'aime") and Faust asks her to run away with him. Méphistophélès appears and begs Faust and Marguerite to follow him. Marguerite resists and calls for divine protection. Desperate, Faust watches and falls to his knees in prayer, while Marguerite's soul rises towards heaven (highlight: "Christ est ressuscité").