Gounod’s Faust: Synopsis, Music, and History
Plot
In an overture without special interest is the first frame, the study of Dr. Faust, who spent the night with books, like many others in his long life. But the more he studied, the more desperately he recognizes that there has been no progress on the big questions of existence. In a fit of melancholy, like poison, the joyful singing of the peasants, who praise God and nature, is contained. Faust decides to make one last attempt. Let Satan help! And Satan is present in the act, leans over, and says his name is Mephisto (Mephistopheles). Faust refuses, but he hesitates in view of the elegant manners of the visitor. Mephisto asks questions of the wise. What do you want? Wealth? No. Fame? No. Power? Neither. He wants something that covers all the others: youth. Mephisto makes the promise, but in exchange for paying a price. Faust’s soul belongs to him after death. The sage continues to doubt, but then he glimpses the angelic figure of a young woman Mephisto, to attract him and make him accept the deal, shows as a distant image. Eager, Faust is rejuvenated by magic formulas. And now, to see the world!
In the second act is a joyous celebration in the city, where the crowd sings and dances. Valentine is serious; he goes to war and has to leave his younger sister Margaret alone. Siebel, who secretly loves her, promises to be with her. Valentine sings a cheerful farewell aria that has become famous.
A mysterious visitor who appears suddenly opposes his own song to Valentine. All shudder at the strange melody, ‘Round the Golden Calf’ sung by Mephisto. When finished, he prophesies the early death of Brander and Valentine and predicts that Siebel touching every flower will wither away. He rejects the wine offered to him and makes an empty barrel arise from a superior wine. He drinks to Margarita’s health. Valentin, angered by the mention of his sister, defies the stranger. Mocking, Mephisto keeps up, and the sword breaks. With magic arts, he impedes the progress of young people who threaten him. The devil! A cry of horror runs through the crowd. Before him, there is only one defense: the cross. Mephisto has to go back to the swords, which handles cross-shaped, but promises revenge. Faust appears and demands that Mephistopheles drive him as soon as possible to Margarita. It will not be easy to get your love, objects the devil. The people return to surrender to the dance. Gounod wrote for this scene a dizzying waltz that has become very popular. Faust approaches the girl with the offer to accompany her. Margarita, confused, refuses; she does not want to be called ‘Miss’, as Faust has just done. Intimately feeling flattered, but showing outwardly inaccessible, Margarita goes her way. Faust does not take his eyes away for a moment.
The third act takes place in the garden of Margarita’s house. Siebel has a bouquet of flowers, but the words of Mephistopheles come true: the flowers wither quickly. Faust and Mephistopheles appear. Where are the flowers of Siebel? Mephisto goes away to bring a brighter gift. Meanwhile, Faust sings a beautiful aria that describes the impression of chastity and purity seen in the doorway of Margarita’s house.
Mephistopheles returns with a box that contains a gem that Faust gets in Margarita’s door. They both go. Margaret returns home. She sits at the wheel and sings the ancient ballad of the King of Thule, but stops several times; the memory of the young man repeatedly interrupts her thoughts. Then she discovers the case. Certainly not a good time, but curiosity wins. She sets the jewel while singing the well-known ‘Jewel Aria.’ Marta, the neighbor, comes quickly and admires the jewel. Faust and Mephistopheles then return. The latter approaches Marta with the pretext to convey the greetings from her last husband who died on the battlefield. While he has plenty of anecdotes and makes the cut, he gets away from the young couple, whose romantic feelings are becoming stronger. After a long and melodious love duet, Faust and Marguerite are fired. Margaret enters her room, whose window opens completely. She contemplates with joy the stars and sings of her happiness. Faust notes her in the bushes. He runs to her and crawls into her open arms. In the night garden resonate horribly mocking laughter of Mephistopheles.
Faust has abandoned Margarita, who is expecting a child and, in despair, is at the mercy of the evil of those around. She takes comfort in the church. But in the sacred songs, the choir provides the voice of Mephisto until Margaret vanishes.
The soldiers return home; among them is Valentine. He has heard of the disgrace of his sister and wants an explanation. Faust and Mephistopheles also reach Margarita’s house, where Mephistopheles sings a serenade to the guitar. Valentin challenges them both. Faust, covered by Mephisto, stabs the brother of his beloved. The neighbors approach and hear the dying curse his sister.
The first table of the fifth act describes the witch orgies that take place on the night of Walpurgis, according to medieval belief. On the rocky summit is the realm of Mephisto, with demonic beauty; witches try to distract Faust from memories. It’s time for a brilliant ballet that could not be missed in any French opera of the time. But Faust cannot forget Margaret.
Margarita is in jail. She killed her own son and is sinking ever deeper into madness. Faust enters, led by Mephisto. Marguerite recognizes him with effort; the band evokes the melodies of love. But when Faust will take her, Margaret returns to fall into madness. Mephisto is short; it is about to dawn, he hears voices. Faust tries to explain one last time before Margaret’s death, then released from her suffering. Mephisto, aware of his victory, exclaims: ‘Doom!’ but the celestial choirs overshadow her scream with a ‘Saved!’ Soft glow.
Source
The medieval legend of Dr. Faust, a scholar who sells his soul to the devil to regain his lost youth and enjoy it, but also to find the solution to the problems of existence, has inspired countless poets and writers. Goethe’s version is one of the great masterpieces of the Western spirit. His argument, however deep, and theater performances have also attracted many composers. Remember Boito’s Faust, Berlioz and Spohr, and the more modern Reutter and Busoni, but also a series of works that are variations on the same topic (e.g., The Rake’s Progress, Stravinsky).
Script
If you compare the work of the writers with the works of Goethe, we can see some positive things. Especially skillful stage adaptation, selection of varied and exciting pictures, the distribution of highlights and lyrical oasis. Goethe is little more than an argument outside, the drama of a young petty bourgeois, who is moved and excited. The deepest meaning of the element ‘demon’ has completely lost (while in Boito’s Mefistofele, a little more remained). Despite this (or perhaps because of that), it is a work that gives excellent results and has rewarding roles.
Music
Gounod also moved away from the drama of Goethe, whose diabolism at any time is expressed in music. But he is a great melodist, has a splendid line of song and brilliant orchestral technique. Many parts of the opera have become very popular and still are today by being easily understood. Music is suitable for a large operation, very effective, with intoxicating sounds.
History
The gestation of this opera was inconvenient because shortly before its completion, a melodrama premiered in Paris on the same subject, and Gounod was forced to interrupt his work. The theater director suggested another script. Gounod resumed Faust later, the opera ended and was represented at the Théâtre Lyrique in Paris on March 19, 1859. The public received it coldly, found it ‘too German.’ In fact, the global success of the work started in Germany, where it was performed very early in all scenarios with the title of Margarethe. Ten years later, Gounod reviewed the work to make it a grand opera, with dialogue replaced by sung parts and introduced into the score an impressive chorus of soldiers and ‘Prayer’ of Valentine. The work became a ‘classic’ French opera worldwide, in the United States since 1863, in Spain since 1864, and in Argentina since 1866.