In the tragic poem of the classic of world literature Johann Goethe there are no unimportant characters. Each of the characters acts as a step towards achieving the main goal - revealing the main idea of the work. So the image of Margarita is not inferior in strength to the image of herself. Her appearance in the hero’s life is just a moment that gives bliss and turns into a terrible disaster. But this moment proves to the forces of darkness and heaven the existence of true love on earth and the ability of any person to have this great feeling.
Mephistopheles' machinations
The young simpleton Margarita and the serious, educated Faust are unable to resist the passion that has arisen between them. A girl raised in a family of righteous people risks everything for a secret meeting with her lover. She drugs her own mother with a satanic potion in order to escape from constant surveillance and drown in the arms of her chosen one. How could the poorly educated poor thing know that the sleeping pills slipped to her were actually poison? The terrible truth will strike Margarita on the spot - her mother is dead. And all the blame is on her. The seduced girl's brother dies at the hands of Faust in a duel for his sister's honor. The beloved quickly disappears from Margarita’s life, escaping punishment for the crime he committed. The girl's hopes are shattered, she is disgraced and completely unhappy.
Margarita's sin
What remains for the heroine? Dishonor and eternal condemnation by society of the Puritans. In addition, the poor thing finds out what awaits the child from an illegal relationship. In a fit of madness, Margarita kills her newborn daughter. For serious crimes, a girl who has lost faith in life and people is thrown into prison. She faces the death penalty.
Having learned about Margarita's troubles, Faust comes to his abandoned lover. It is within his power, of course, not without the help of Satan, to pull the girl out of the tightening noose. But tormented by guilt, Margarita refuses such help. She doesn't need more life in sin. She sincerely repents and wants to be punished for the evil she has done.
The rescue
The image of the heroine is tragic and attractive at the same time. The mad power of love catalyzed black magic, turned a decent and innocent girl into a harlot and a murderer. But everything that happened was an obsession that the unfortunate victim of circumstances simply could not fight. The purity of Margarita’s soul, her repentance and firm decision to bear her cross to the end ensured her salvation (the Lord took pity on her). And, most importantly, forgiveness: Margarita’s soul will go to heaven.
Opera in four acts with a prologue. Libretto by Babier and Carré based on Goethe's Faust.
Characters: Faust - tenor; Mephistopheles - bass; Valentin - baritone; Brandner - baritone; Margarita - soprano; Siebel - alto or mezzo-soprano; Martha - mezzo-soprano; students, soldiers, townspeople, girls, women, witches, spirits, demons.
The action takes place in Germany during the Middle Ages.
Prologue
Doctor Faustus's office...
Thick books, instruments, parchment scrolls surround an aged scientist who has become disillusioned with science and now feels that he devoted his life to it in vain. He spent years in severe solitude, thirsted only for knowledge and completely forgot about life! And no one can return his youth to him.
In disappointment, he sees no other way out but to commit suicide. But the cup of poison trembles in his hand when the cheerful song of youth bursts into the gloomy office. They glorify Easter, spring, which will once again clothe the whole earth with flowers.
For a few moments, Faust looks through a window overgrown with cobwebs at the spring landscape, at a cheerful crowd of people. In frantic despair, he curses God and calls upon Satan.
The one he calls comes.
Mephistopheles appears and asks what Faust wants from him.
Faust wants to regain his lost youth. Mephistopheles offers a deal: here, in this world, he will fulfill any desire of Faust, after death the soul of the scientist will belong to him.
The doctor is frightened by such a proposal, but Mephistopheles shows him the ghost of the beautiful Margarita, and a thirst for life, youth, and love flares up in him. Faust signs a pact with the devil, drinks the drink given to him by Mephistopheles and turns into a slender young man.
Act one
Behind the city gates among flowering trees and green hills, people celebrate spring. The soldiers boast that they will take the girls' hearts and fortresses by storm. The townspeople are talking at a table in the tavern: let others fight, we will drink the life-giving moisture here.
Boys flirt with girls. Only Valentin, Margarita's brother, is sad. He has to go to war and worries about his beloved sister being left behind. He turns to God with a prayer to protect his sister, who is left alone, without any support.
At this moment, Mephistopheles appears among the merry crowd... He tells fortunes for the men and predicts Valentin's imminent death.
He also predicts bad things for Siebel, Valentin’s friend, who is in love with Margarita: every flower that the young man’s hand touches will wither.
Then Mephistopheles takes wine from a barrel painted on the inn sign, treats people to it and sings a song about the power of gold. Finally, he raises a glass to the beautiful Margarita, but then the indignant Valentin intervenes. The swords are snatched, but Valentin's blade breaks in the air at the mere shine of Mephistopheles' weapon. Valentin raises the hilt of his sword, resembling a cross, towards the identified Satan. The soldiers follow his example. The hunched devil, who immediately became powerless, shouts threateningly to them: “We will meet again!”
Faust appears, he notices Margarita leaving the church, approaches her and offers to accompany her. However, the girl discreetly rejects the stranger’s proposal and hurries home.
Act two
Garden in front of Margarita's house.
Margarita's young admirer, Siebel, collects flowers to place on the doorstep of the girl's house. But from his touch the petals immediately wither, as Mephistopheles predicted. Only after washing his hands with holy water does Siebel manage to collect the bouquet.
Faust appears in love...
He greets the “shelter of innocence” with emotion. Mephistopheles laughs at him and declares that he will now bring such a magical remedy that will immediately help the doctor achieve his goal.
Next to Siebel's flowers he places a beautiful box full of jewels.
Margarita arrives. Love had already flared up in her heart: she had not forgotten the kind gentleman who turned to her when she was leaving the church.
The girl notices the box and sees the treasures. She admires them, puts on pendants and, looking at her reflection in the precious mirror, almost does not recognize herself.
At this moment, Mephistopheles appears with Faust, whom Satan encourages to be bolder. While Faust is walking with Margarita in the garden, Mephistopheles speaks to her neighbor Martha, who learns from Satan about the death of her husband, who has gone to distant lands. But Martha is not sad for long. She immediately hints to Mephistopheles that she would not mind marrying him.
Faust is deeply touched by Margarita's purity, he says goodbye to the girl and is about to leave when Mephistopheles stops him. Is Faust really thinking of leaving when the girl already belongs to him?! Both are hiding.
Margarita appears at the window, she thinks that no one hears her love confession, that she only tells the stars about the happiness that has filled her heart.
Faust, in love, rushes to Margarita and embraces her in a warm embrace. Satan bursts out into a long, mocking laugh.
Act three
The deceived and abandoned Margarita is angrily ridiculed ex-girlfriends. Only Siebel defends her, although he is very hurt that she still thinks about Faust.
The song of soldiers returning from a military campaign can be heard.
Valentin also returned. Siebel, trying to protect Margarita from her brother’s wrath, tries to detain him, but he, suspecting evil, runs into the house.
Evening comes, and Faust appears under Margarita’s window, accompanied by Mephistopheles. The young man is tormented by his conscience; he would like to see his beloved again. Instead, Mephistopheles sings a mocking serenade, to the sounds of which Valentin comes out and demands an answer from the strangers, since he suspects one of them is the seducer of his sister. Faust is forced to draw his sword and engage in a duel with him.
Short fight. Mephistopheles knocks Valentine's sword aside, and Faust's blade pierces the heart of the unfortunate warrior. Faust and Satan are hiding. Neighbors find a bloodied Valentin, who curses his sister before dying.
The dead man is carried into the house. Everyone disperses, lonely, abandoned by everyone, Margarita wanders towards the church, trying to gain forgiveness for her sins with her prayers.
But all prayers are in vain. She hears only the inexorably cruel words of Mephistopheles: “There is no forgiveness for you!”
Losing consciousness, she falls on the steps of the church.
Act four
Picture one. Trying to calm Faust's restless soul, Mephistopheles shows him the delights of Walpurgis Night and introduces him to his kingdom. The newcomer is surrounded by beautiful witches, bacchantes, and ghosts swirling in a wild whirlwind. All in vain... Faust's restless soul does not find consolation in this spectacle.
He thinks about Margarita. Her image appears before him: on the girl’s neck there is a thin red stripe - the terrible mark of the executioner’s ax. “Hurry, hurry from here - to her!” - exclaims Faust.
Picture two. Jail.
Unhappy Margarita lost her mind under the blows of fate that fell upon her. Her lover left her, the townspeople, having learned about her shame, disowned her, her brother died, cursing her even at the last minute.
In desperation, she killed her newborn child and is now in prison, shackled, awaiting the death to which the judges sentenced her.
But the bars of the dungeon cannot block the path of Mephistopheles, who, at the insistent request of Faust, enters the prison with him through the locked gates.
The appearance of her beloved for a few moments disperses the darkness covering Margarita’s soul. The girl re-experiences the happiness of her first date, walks in the garden, first kisses, but when she sees the face of Mephistopheles, she recognizes Satan in him and turns away from her beloved in horror, rejects his mercy and appeals to the mercy of heaven.
Dawn is coming, and with it the end of Satan's power. Mephistopheles hurries Faust.
Depressed, he follows him.
However, Margarita had already left the earth. With an inspired face, she sings her hymn, her soul, cleansed, freed from sins, ascends upward.
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History of productions
The National Opera House refused to stage “Faust” under the pretext that the opera was not “spectacular” enough, and the Théatre-Lyrique theater postponed it for a year due to the fact that at that moment Dennery’s drama “Faust” was being performed in Port St. Martin. Director Leon Carvalho (whose wife, Maria Caroline, sang the role of Margarita) insisted on a number of changes, with some cuts. At first the opera had no great success. It took place in Germany, Belgium, Italy, but became popular in Paris in 1862. Later, in 1869, the Royal Opera House (Théâtre de l'Académie Royale de Musique) added ballet scenes - Walpurgis Night. Since then, the opera has become the most frequently performed for many decades.
Popularity began to decline around 1950. A complete production of an opera with a powerful chorus, rich scenery and costumes, and especially the inclusion of ballet scenes in the last act, is an expensive undertaking. However, by some estimates, Faust is ranked eighteenth among the twenty most popular operas in North America.
History of creation
An opera based on the plot of Goethe's Faust was conceived by Gounod in 1839, but he began to implement his plan only seventeen years later. Librettists J. Barbier (1825-1901) and M. Carré (1819-1872) set to work with enthusiasm. In the midst of composing music, it became known that the melodrama “Faust” had appeared on the stage of one of the Parisian theaters. The director of the Lyric Theater, to whom Gounod offered his opera, fearing competition, refused to stage it. Instead, the composer was commissioned to create a new opera based on the plot of Moliere’s “The Reluctant Doctor” (1858). Nevertheless, Gounod did not stop working on his opera. The premiere of Faust took place in Paris on March 19, 1859. The first performances were not successful, but gradually the popularity of the opera grew: by the end of the 1859 season it had run for 57 performances. Faust was originally written with spoken dialogue. In 1869, for a production on the stage of the Parisian Grand Opera, Gounod replaced the dialogues with melodic recitative and completed the ballet scene “Walpurgis Night”. In this edition, the opera took a strong place in the world theater repertoire.
The plot of the opera is borrowed from the first part of Goethe's tragedy of the same name (1773-1808), which was based on a medieval legend widespread in Germany. However, unlike Goethe, this plot is interpreted in the opera in lyrical and everyday terms, and not in philosophical terms. Gounod's Faust is dominated not so much by reflections on life, an inquisitive search for truth, but by the ardor of love feelings. The image of Mephistopheles is also significantly simplified: it is complete in Goethe deep meaning, he appeared in the opera in a mockingly ironic way. Margarita is closest to the literary prototype, in whose depiction humane, sincere features are emphasized.
Characters
| The consignment | Voice | Performer at the premiere March 19, 1859 (conducted by Adolphe Deloffre) |
Performer at the premiere of the final version, March 3, 1869 |
|---|---|---|---|
| Faust | tenor | Joseph Barbeau | |
| Mephistopheles | bass | Emil Balanque | |
| Margarita | soprano | Marie Miolan-Carvalho | |
| Valentine | baritone | Raynaud | |
| Wagner | bass | M. Sibo | |
| Siebel | mezzo-soprano | February | |
| Martha | contralto | Duclos | |
| Students, soldiers, townspeople, children, common people | |||
Summary
Prologue
As a last chance, Faust appeals to the evil spirit - and Mephistopheles appears before him. Confused and frightened, Faust tries to drive away the spirit - he tells him: “You shouldn’t call the devil from hell and immediately drive him away!” To the question: “What can you give me?” Mephistopheles offers him gold, fame, power, but Faust is not attracted to this - he needs youth. The messenger of hell agrees - Faust will regain his youth, but on condition: “I am always here at your service, but then you will be mine! Write, here!” Faust hesitates, then Mephistopheles, in the form of an advertisement, shows him the image of the beautiful Margarita ( “Youth is so charming, look here, my doctor!”) Faust agrees, signs the contract, drinks his cup ( “There is no poison here, here is life and youth!”) and sets off with Mephistopheles.
Act one
In the midst of the fun, Mephistopheles appears. He performs evil and caustic couplets about the power of almighty gold, which can be called the main “calling card” of the opera ( Listen to the verses in Spanish. ):
G. Petrova That idol is the golden calf! Surrounding the pedestal! Satan rules the roost there, He is Heaven's holy law! Surrounding the pedestal! |
People are dying for metal! Mephistopheles behaves defiantly. He offers everyone excellent wine, then predicts Wagner’s death in the first battle, assures that Siebel will not be able to pick a single flower without it immediately withering, and accordingly present them to Margarita... Raising his glass, he offers “A completely innocent toast: to Margarita! An angry Valentin tries to get his sword, but it breaks. Then everyone guesses Who
In front of them. They raise the cross-shaped hilts of their swords to drive out the devil. He leaves, saying goodbye to them: “We’ll see you soon, gentlemen, goodbye!” Returning to Faust, Mephistopheles invites him to start having fun. Faust reminds him of Margarita. He hesitated:“But its purity bothers us!” Faust threatens to leave him. Mephistopheles assures Faust:
“I would not like, my dear doctor, to part with you, I value you! She will come to us - I promise you!..” Square. Faust is waiting to meet Margarita. Mephistopheles, meanwhile, distracts Siebel. Seeing the girl, Faust approaches her and says:“Do I dare offer you my hand, beauty, to always protect you, to serve you as a knight...” “Oh no, no, it will be too much honor for me, I don’t shine with beauty and I’m really not worth a knight’s hand.”- and leaves, leaving the shocked and enchanted Faust.
Act two
Siebel tries to collect flowers for Margarita, but they immediately wither. This is it, damn it! Siebel gets the idea to wash his hands with holy water - and it helps. Siebel leaves the bouquet at the door and leaves. In the garden - Faust and Mephistopheles. They hear Siebel’s heartfelt confessions and see the bouquet intended for Margarita. Faust's heart is overcome by jealousy. Mephistopheles sneers at the flowers and says that he has something more valuable. Leaving a chest of jewelry near the door, Faust and Mephistopheles leave.
Margarita comes out. He notices the bouquet and guesses that it is from Siebel. But then Mephistopheles’ mysterious box catches her eye. Yielding to temptation, she tries on the jewelry. “And the mirror was found, as if it was all on purpose, for me! How can you not look at it? How can you not take a look?” At the same time, Margarita’s intonations change: innocence is replaced by some greed. Then her neighbor, Martha, comes in. she has no doubt that the jewelry was left by the knight in love and complains that her husband never gave her such a gift. Faust and Mephistopheles appear. The latter takes Martha upon himself in order to leave Faust and Margarita alone. He begins with the fact that Martha's husband has died. He hints to the upset Martha that he needs to be replaced by someone else, hinting at himself. She falls for it. It comes to the point that Mephistopheles exclaims: “This old hag would willingly go down the aisle with anyone, even Satan!” At the same time, Faust declares his love to Margarita. Meanwhile, Mephistopheles, having taken Martha away, to her deep disappointment, disappears, finally remarking: “This old beauty is not even a find for the Devil...” He returns to the lovers and commands the night to clothe the lovers with its mysterious cover, and to the flowers: “...poison the air with a fragrant subtle poison and lull the conscience into a sweet sleep...” Margarita says goodbye to Faust and goes to her house. Then he comes out and calls Faust. He rushes towards her. Mephistopheles grins triumphantly after him.
Act three
Picture one. Love for Faust brought Margarita great suffering. She spent many days alone, waiting for her beloved, but in vain: Faust left her. But Siebel is still faithful to her, comforting the unfortunate woman.
Picture three.
Mephistopheles tries to take him away: “Well, why visit those places where it’s unpleasant? We’ll have a better time - fun awaits us, a merry feast awaits us?” But Faust cannot get Margarita out of his head. Then Mephistopheles, mocking Faust’s feelings, laughs and performs a sarcastic, mocking serenade. Valentin runs out with a sword. Mephistopheles mocks him, saying that the serenade was not performed for him. He wants to punish the one who dishonored their family. Before the fight with Faust, Valentine curses God and refuses His help. Mephistopheles remarks in a low voice: “You will repent of that” and instructs Faust: “You stab more boldly! I will take care of your protection!” Valentin lunges three times and misses three times. Finally, Faust deals a fatal blow to Valentin and, carried away by Mephistopheles, disappears. A crowd gathers around the dying man. Margarita tries to ease her brother’s suffering, but he indignantly dismisses her and, despite Siebel’s and the crowd’s pleas for mercy, curses her sister before her death and predicts her shameful death.
Act four
Picture one. Margarita lost her mind and killed her own child. Now she is awaiting execution. Faust steals the keys from the sleeping guards and comes to her in Margarita’s cell to save her. Margarita remembers with tenderness how they met. Concerned Faust persuades her to run away with him. They are interrupted by the appearance of Mephistopheles: morning is coming, fast horses are waiting for them! Hearing footsteps, Mephistopheles and Faust hide. The guards enter with the priest to take her away to execution. Margarita comes out to meet them.
Picture two. Walpurgis Night. To distract Faust, Mephistopheles brought him to the witches' Sabbath. Faust consoles himself in the company of witches and drinks wine. But, hearing Margarita’s voice and seeing her vision, he breaks out of Mephistopheles’ captivity and goes after her.
Audio recordings
- - conductor Vasily Nebolsin, choir and orchestra of the Bolshoi Theater, USSR
- - conductor Vasily Nebolsin, choir and orchestra of the Bolshoi Theater, USSR
- - conductor Wilfried Peletier, chorus and orchestra of the Metropolitan Opera Theater, Arkadia, USA
- - conductor Richard Bonynge, Ambrosian Opera Choir, London Symphony Orchestra, Decca Records, UK
Lyrical drama in five acts; libretto by J. Barbier and M. Carré (with the participation of O. Prader) based on Goethe’s poem of the same name.
First production: Paris, Théâtre Lyricique, March 19, 1859; final edition: Paris, Grand Opera, March 3, 1869.
Characters:
Faust (tenor), Mephistopheles (bass), Margarita (soprano), Valentin (baritone), Wagner (bass), Siebel (mezzo-soprano), Martha (mezzo-soprano); students, soldiers, townspeople, children, common people.
The action takes place in Germany during the Middle Ages.
Act one: "The Cabinet of Faust"
Faust sits at a table littered with books and manuscripts. He feels old, tired and frustrated. In vain he questioned nature and the creator; they did not bring him any consolation. It's getting light. In despair, Faust pours himself poison, welcoming the last morning of life (“Rien! En vain j" interroge”; “No! In vain my mind greedily asks for an answer.”) Suddenly he hears the singing of girls, and Faust loses the desire to die. He is overcome rage at the thought that God cannot give him love, youth, faith. Faust curses everything and appeals to Satan (“Mais se Dieu, que peut-il pour moi?”; “Will God return everything to me?”). Faust, after hesitating, finally admits to him that his only desire is youth. He signs an agreement with Mephistopheles and turns into a young man (duet “A moi les plaisirs”; “Give me back my happy youth”).
Act two: “Fair at the City Gates”
The crowd escorts the soldiers to war. Among them is Valentin, Margarita’s brother, who entrusts his sister to friends, especially the faithful Siebel, who is in love with her (“Dieu puissant, Dieu d’amour”; “God omnipotent, god of love”). Wagner, Faust’s student, starts a cheerful song, but he is interrupted by Mephistopheles, singing a hymn to gold (“Le veau d"or est toujours debout”; “On earth is the whole human race”). Mephistopheles predicts trouble for Wagner, Siebel and Valentin, then proposes a toast to Margarita. Valentine rushes at Mephistopheles in a rage, but his sword breaks in the air. Faust enters and, seeing Margarita, tries to court her. But the girl answers him coldly (duet “Ne permettrez-vous pas”; “I dare to propose”).
Act three: "Margarita's Garden"
Siebel collects flowers for Margarita, but they wither in his hands, as Mephistopheles predicted. After washing his hands with holy water, he again collects the bouquet and places it on the threshold of the girl’s house. Mephistopheles and Faust enter, delighted with the sight of their beloved’s home (“Quel trouble inconnu... Salut! Demeure chaste et pure”; “What excitement I feel... greetings to you, innocent shelter”). Mephistopheles brings a jewelry box and leaves it near the house.
Margarita sings a sad ballad (“Il etait un roi en Thule”; “In Thule there lived a king”). She thinks about meeting a stranger, Faust. Having found the box, the girl tries on the jewelry (“Ah! Je ris de me voir si belle en ce miroir”; “Ah, funny, funny for me to look at myself”). Neighbor Martha joins her, assuring Margarita that the gifts are from some rich gentleman in love with her.
Faust and Mephistopheles return. Mephistopheles entertains his neighbor, and Faust can surrender to his feelings (quartet “Seigneur Dieu, que vois-je”; “My God, what do I see”). Mephistopheles conjures the darkness of the night to favor a meeting between lovers. Now they are united by a mutual feeling (“II se fait tard”; “It’s time to go... goodbye”). Returning home, Margarita dreams of new meeting(“II m"aime”; “Oh happiness!”) Faust rushes to the window and hugs her.
Act four: “Margarita’s Room”
Margarita, abandoned by Faust, is sad. Only Siebel consoles her. She still loves her seducer and goes to church to pray for mercy from God.
"Street"
On one side there is a house, on the other there is a church. Margarita enters the church. Mephistopheles haunts her with memories of the Past and the threat of eternal damnation. The church choir sounds in support of Margarita. Exhausted, she falls unconscious.
The soldiers return, among them Valentine (“Gloire immortelle de nos aieux”; “To the exploits of the glory of their fathers”). Valentin enters his sister's house. Night. Faust wants to see Margarita, and Mephistopheles sings a serenade in front of her house (“Vous qui faites Tendormie”; “Come out, oh my gentle friend”). Valentin smashes Mephistopheles' guitar with a blow of his sword. Faust enters into a duel with him and mortally wounds him (terzetto “Redouble, O Dieu puissant”; “You, heaven, give, I pray”). Dying, Valentin curses Margarita.
Act five: "Walpurgis Night"
To distract Faust from remorse, Mephistopheles takes him to his kingdom in the Harz Mountains. The shadows of the dead flicker among the dark rocks. At the wave of Mephistopheles’ hand, the rocks move apart and a gigantic palace appears, illuminated by a fantastic light. Among the feasters are Cleopatra, Helen, Aspasia, Laisa. An unbridled bacchanalia begins. Faustus imagines Margarita with a bloody mark on her neck, and he asks Mephistopheles to take him to her.
"Jail"
Margarita killed her child, losing her mind from grief. Having entered the prison, Faust wants to save her. Both swear their love to each other (“Mon coeur est penetre d”epouvante!”; “My heart is full of torment and fear”). Mephistopheles hurries Faust. At the sight of Satan, Margarita falls to her knees and begins to pray passionately, refusing Faust’s help (terzetto “Alerte! Alerte!”; “Run, run!”). The walls of the prison move apart, and the soul of Margarita ascends to heaven, following her with his gaze, Mephistopheles is struck by the shining sword of the archangel (“Christ est ressuscite”; “There is”). truth is in heaven").
G. Marchesi (translated by E. Greceanii)
FAUST (Faust) - opera by C. Gounod in 5 d., libretto by J. Barbier and M. Carré based on the first part of the tragedy of the same name by J. V. Goethe. The 1st edition, combining vocal numbers and prose dialogues, was called “Faust and Margarita”; its premiere took place at the Lyric Theater in Paris on March 19, 1859. Later, Gounod reworked the opera, added recitatives, and created new numbers: Valentine’s prayer, the soldiers’ chorus, the ballet “Walpurgis Night,” bringing the structure of the work closer to “grand opera.” This final version, which is still performed today, was presented at the Imperial Academy of Music on March 13, 1869. Faust soon became firmly established in the repertoire both in France and in other countries. In Russia it was first shown by an Italian troupe in December 1863 (E. Tamberlik - Faust, C. Everardi - Mephistopheles), on the Russian stage - in Moscow, at the Bolshoi Theater, November 10, 1866, then at the St. Petersburg Mariinsky Theater 15 September 1869 under the direction of E. Napravnik (F. Komissarzhevsky - Faust, G. Kondratiev - Mephistopheles, E. Lavrovskaya - Margarita, I. Melnikov - Valentin, D. Leonova - Zibel); The opera was a huge success and became a repertoire forever.
The composer's focus was not on the drama of Faust's thoughts and feelings, but on the fate of Margarita (that's why in Germany it was customary to call opera after her). Not only were many scenes and characters omitted from the libretto, but the characters were also modified. Thus, the image of Siebel is endowed with lyrical properties, in the tragedy - a cheerful drunken bursh. However, the assessment of Gounod's opera is not determined by the degree of its proximity or distance from the literary original. This is an independent work, possessing only its own inherent qualities, which have won the love of millions. The music of “Faust” is melodically rich, it is characterized by relief, expressiveness, catchy theatricality, contrast of images, picturesque background and, above all, soulful lyricism.
In embodying the greatest creation of the German genius, Gounod did not set out to compose German music. Even the famous waltz is French in character. The scene of Margarita with the casket (III stage) is full of purely French grace. Mephistopheles, Valentine, and Faust are French. The bright national color is one of the advantages of the opera. The composer skillfully builds scenes and ensembles, introducing a chorus of soldiers and a march into the lyrical drama, a brilliant choreographic scene in the 5th century.
The intelligibility of Gounod's music, caused by the desire to be understood by the masses, determined to a large extent the vitality of the opera, while many works created only for musicians died.
Faust is one of the most popular operas in the world repertoire. Among the performers of the main roles are the largest singers: A. Masini, N. Figner, J. de Reschke, E. Caruso, L. Sobinov, B. Gigli, I. Kozlovsky, S. Lemeshev, N. Gedda (Faust); E. Giraldoni, A. Cotogni, M. Battistini, I. Tartakov, P. Khokhlov (Valentin); A. Patti, K. Nilsson, M. Garden, P. Levitskaya, E. Mravina, M. Figner, L. Lipkovskaya, M. Kuznetsova-Benoit, A. Nezhdanova, P. Lucca, M. Sembrich, M. Korolevich- Wajda, J. Sutherland, M. Freni (Margarita); F. Stravinsky, A. Didur, B. Hristov, N. Gyaurov, N. Rossi-Lemeni, C. Sieppi, S. Remy (Mephistopheles). In recent decades, productions of Faust in Geneva (1980, directed by L. Ronconi) and Milan (1996) have stood out.
A special place in the stage history of opera belongs to F. Chaliapin. The great artist completely rethought the image of Mephistopheles. Preserving the brilliance and grace characteristic of Gounod's music, Chaliapin brought his Mephistopheles closer to the image of Goethe. He revealed bottomless cynicism, contempt for people, hatred of everything pure. Chaliapin's hero in internal content and externally (make-up, costume) differed sharply from the traditional Mephistopheles of the opera stage. True, he did not develop this way right away, but gradually developed into one of the highest creations of operatic art. Outside the Chaliapin tradition, the performance of this opera became impossible. Its interpretation became a reference point for outstanding Russian singers - A. Pirogov, M. Reisen, I. Petrov and others.
Many works have been written on the plot of “Faust”: singspiels by Ignaz Walter, Joseph Strauss, I. G. Lickl, W. Müller, etc.; operas “Faust” by L. Spohr (based on a folk book), G. R. Bishop, Louise Bertin, O. Pelar, G. Zöllner, L. Gordigiani, “Mephistopheles” by A. Boito, “Doctor Faust” by F. Busoni, “ Doctor Johann Faust" (1936) and "Don Juan and Faust" (1950, after K. Grabbe) by G. Reutter. A. Bruggeman wrote an operatic tetralogy covering both parts of Goethe’s tragedy (“Doctor Faustus”, “Gretchen”, “Faust and Helena”, “The Enlightenment of Faust”; the first two were staged on stage). Ballets (including A. Adam), symphonic works by R. Wagner, F. Liszt, R. Schumann, A. Rubinstein, dramatic legends by J. Seyfried and G. Berlioz, a cantata by A. Schnittke, etc. have been created based on the plot of “Faust.” In 1964, the theater in Kiel staged the opera “Faust III” by the Danish composer N.V. Bentzon, in which an attempt was made to show the transformation of the hero of Goethe’s tragedy into the character of “Ulysses” by J. Joyce, and then into the hero of “The Trial” by F. Kafka. .
PrologueFaust - an old scientist, warlock and astrologer - laments that all his knowledge has given him nothing. He is ready to take poison to die, but at that moment he hears the girls praising the Lord. In desperation, Faust calls upon Satan and, to his great amazement, Mephistopheles appears. At the first moment, the old man is ready to drive him away, but Mephistopheles invites him to fulfill any desire. Faust wants only one thing - the return of his happy youth!
Mephistopheles shows Faust a vision - the image of the lovely Margarita. Enchanted by her, the philosopher agrees to sign an agreement, the condition of which is that Mephistopheles will serve Faust on earth, but in the underworld he, the devil, will be the master. With a wave of his hand, the poison turns into a magic potion that gives Faust the desired youth.
Act I
Fair.
The fair is filled with festive excitement. Townspeople, townswomen, soldiers and students feast merrily. Valentin, Margarita's brother, is saddened: when he goes to war, he is forced to leave his sister unattended. Margarita gives her brother a medallion, which should protect him during battles. Wagner and Siebel, Valentin's friends, appear. Secretly in love with Margarita, Siebel vows to protect her. Wagner persuades the young men to forget about their sorrows and sings a comic song about a rat. He is interrupted by Mephistopheles suddenly appearing and singing his song. Wagner invites Mephistopheles to drink wine: taking the cup from his hand, Satan predicts his imminent death. Siebel predicts the withering of any flower he touches. Calling on Bacchus, Mephistopheles treats everyone to magnificent wine and raises a toast to Margarita. Valentin becomes enraged: he attacks the strange stranger, but, as if by magic, his weapon falls from his hand. Everyone retreats in fear, realizing who they are dealing with: and even the cross of sword and scabbard with which Valentin defends himself is not able to drive away the devil. With a single breath, Mephistopheles disperses the gathered crowd.
Faust demands a meeting with Margarita. Mephistopheles is worried, because the sky itself is protecting her, but still prophesies the imminent appearance of the beauty. The walking youth spin in a waltz, and at the height of the dance Margarita appears. Faust offers her his hand, but Margarita rejects the stranger's advances and leaves. Faust is fascinated and upset: the girl rejected him...
Act II
Margaret's Garden.
Siebel secretly tries to confess his feelings to Margarita. He picks flowers, wanting to leave a bouquet for his beloved, but a curse comes true - the flowers wither as soon as he touches them. Then the young man washes his hands with holy water and, miraculously, the curse no longer has power over him. Having collected a beautiful bouquet, he leaves it for his beloved.
Mephistopheles leads Faust to Margarita's house. Faust is in a state of confusion awaiting the meeting. Mephistopheles brings a casket with jewelry: he is sure that Margarita will choose it and not Siebel’s bouquet.
Margarita sings a ballad about the Ful king, interrupting it from time to time with memories of the gentleman who spoke to her at the fair. Having finished the song, she notices the bouquet and guesses that it is from Siebel, and then sees the casket. Trying on the jewelry, she is surprised by her reflection in the mirror, as if she were not Margarita at all, but the daughter of a king. Neighbor Martha appears and is no less surprised by Margarita’s new beautiful image. Their conversation is interrupted by Mephistopheles, who tells Martha the sad news - her husband has died. He invites her to immediately start looking for a new gentleman and Martha, without hesitation, flirts with Mephistopheles. Faust and Margarita have the opportunity to talk.
At dusk, Mephistopheles waits for Faust and Margarita, he hopes that love will forever confuse the girl’s heart. Margarita, childishly and naively, guesses on a flower “loves or loves not” and confesses to her lover that she is ready to die for him. Unable to contain his feelings, Faust is ready to leave, promising to return tomorrow. Mephistopheles stops him, offering to listen to what Margarita will say to the stars. The cunning devilish plan came true: the girl told the stars about her love and, in a fit of passion that took possession of him, Faust hugs Margarita.
Act III
Square in front of the temple.
Margarita is abandoned by everyone: Faust left her, and all her former friends only laugh evilly at her misfortune. The only support is Siebel, he swears revenge on the offender. Margarita admits that she still loves Faust and is ready to pray for him and for his child, whom she carries under her heart. In the church, Margarita turns to God with a prayer. Mephistopheles calls upon the spirits of evil. Their voices terrify the girl, Satan curses Margarita.
Valentin returns from the war. He asks Siebel about his sister, but he is afraid to talk about what happened.
Mephistopheles and Faust come to Margarita's house, tormented by remorse for what they have done. Mephistopheles sings a sarcastic serenade about how a pious girl should behave. Valentin comes out to the sounds of the song. He demands satisfaction. Mephistopheles mortally wounds his opponent in a duel. In his dying monologue, Valentin curses his sister.
Act IV
Dungeon.
Margarita is imprisoned: she awaits execution. In prison, her mind became clouded, and she killed her own child. Faust, with the help of Mephistopheles, wants to save his beloved. The girl recognizes his voice and remembers the past few days. Suddenly she notices Mephistopheles and turns to the Lord for salvation. Margarita drives Faust away, because his gaze is menacing, and his hands are bloody. The angels sing of the salvation of the sinner.
Faust follows Mephistopheles into his domain. The ominous darkness around makes Faust's blood run cold. At the wave of the Devil’s hand, everything around is transformed, but Faust sees only the ghost of Margarita, on whose neck a red ribbon is visible - a mark from an ax. Faust rushes towards her. Walpurgis Night begins.
