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Chan 3014(3) CHANDOS O PERA IN ENGLISH

David Parry

PETE
MOO
ES FOUNDATION CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 2

Charles Gounod (1818–1893) Faust

AKG Opera in five acts (with ballet music) Libretto by Jules Barbier and Michel Carré English translation by Christopher Cowell

Faust, a learned doctor ...... Paul Charles Clarke tenor Mephistopheles ...... Alastair Miles bass Marguerite ...... Mary Plazas soprano Valentin, Marguerite’s brother, a soldier...... Garry Magee baritone Siébel, a village youth, in love with Marguerite ...... Diana Montague mezzo-soprano Wagner, a student...... Matthew Hargreaves bass-baritone Martha, Marguerite’s neighbour ...... Sarah Walker mezzo-soprano

Geoffrey Mitchell Choir Charles Gounod Philharmonia Orchestra Nicholas Kok assistant conductor David Parry conductor

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COMPACT DISC ONE Scene 3 35:26 [p. 54] 11 Act I 27:08 [p. 54] ‘Pride of place to the golden calf !’ 2:04 [p. 65] Mephistopheles, Chorus 1 7:03 [p.58] Introduction 12 ‘Your song deserves our thanks!’ 2:47 [p. 66] Scene 1 35:26 [p. 54] Chorus, Valentin, Wagner, Mephistopheles, Siébel 2 6:14 [p.58] ‘Nothing! In vain I have probed…’ 13 ‘Though the fiends of hell may defy resistance’ 2:32 [p. 67] Faust Siébel, Valentin, Wagner, Chorus 3 ‘Lazy little daughter open up your eyes’ 2:55 [p. 58] Scene 4 35:26 [p. 54] Chorus, Faust 14 ‘You haven’t seen the last of me yet!’ 1:33 [p. 67] 4 ‘Can your God help me know the truth?’ 1:21 [p. 59] Mephistopheles, Faust Faust Scene 5 35:26 [p. 54] Scene 2 35:26 [p. 54] 15 ‘Just as when the whispering breezes…’ 2:47 [p. 67] 5 ‘Here I am! You seem somewhat startled’ 2:50 [p. 59] Chorus, Mephistopheles, Faust, Siébel Mephistopheles, Faust 16 ‘May I presume to ask…’ 4:03 [p. 68] 6 ‘So bring me the bliss of careless excesses’ 6:45 [p. 60] Faust, Marguerite, Siébel, Mephistopheles, Chorus Faust, Mephistopheles

Act II 27:41 [p. 54] Act III 54:23 [p. 54] 17 Scene 1 35:26 [p. 54] Entr’acte 2:06 [p. 69] 35:26 [p. 54] 7 ‘Beer or gin or wine or kvass’ 4:55 [p. 61] Scene 1 Chorus, Wagner 18 ‘You must help me reveal the love I feel’ 2:46 [p. 69] Scene 2 35:26 [p. 54] Siébel 8 ‘Oh, sacred medallion from the sister I love’ 1:45 [p. 64] Scene 2 35:26 [p. 54] Valentin, Wagner, Siébel, Chorus 19 ‘Are we there?’ 1:15 [p. 70] 9 ‘Duty bids me leave this place’ 3:50 [p. 64] Faust, Mephistopheles, Siébel Valentin Scene 3 35:26 [p. 54] 10 ‘Cheer up, my friends!’ 1:24 [p. 65] 20 ‘Wait here for a while, Doctor Faust’ 1:03 [p. 70] Wagner, Chorus, Mephistopheles Mephistopheles, Faust

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Scene 4 35:26 [p. 54] 9 ‘Marguerite!’ 4:39 [p. 77] 21 ‘What turbulent feelings possess me?’ 6:46 [p. 71] Faust, Marguerite Faust Scene 13 35:26 [p. 54] TT 69:03 [p. 00] 10 ‘Look there! She’s opening her window…’ 4:03 [p. 78] Mephistopheles, Marguerite, Faust COMPACT DISC TWO Act IV 48:09 [p. 54] Scene 5 1 ‘Be careful! Here she comes!’ 0:46 [p. 71] Scene 1 35:26 [p. 54] Mephistopheles, Faust 11 Entr’acte 1:55 [p. 79] Scene 6 35:26 [p. 54] 12 ‘They pass me in the street…’ 6:31 [p. 79] 2 ‘He would have held my hand if I’d only allowed him’ 6:36 [p. 71] Marguerite, Chorus Marguerite Scene 2 35:26 [p. 54] 13 3 ‘A bouquet! It’s from Siébel I’m sure’ 5:18 [p. 72] ‘Marguerite!’ ‘Siébel!’ 1:36 [p. 80] Marguerite Siébel, Marguerite Scene 7 35:26 [p. 54] 14 ‘When happy days bring you gladness and laughter’ 4:33 [p. 80] 4 ‘Bless my soul, I’m dreaming!’ 0:44 [p. 73] Siébel, Marguerite Martha, Marguerite Scene 3 35:26 [p. 54] Scene 8 35:26 [p. 54] 15 ‘Dear Lord, accept the prayers of a penitent sinner’ 11:14 [p. 81] 5 ‘Dame Martha Schwerlein, I believe’ 2:30 [p. 73] Marguerite, Mephistopheles, Chorus Mephistopheles, Martha, Marguerite, Faust TT 66:27 [p. 00] 6 ‘Please take my arm, they won’t mind!’ 6:56 [p. 74] Faust, Marguerite, Mephistopheles, Martha COMPACT DISC THREE Scene 10 35:26 [p. 54] 7 ‘And none too soon!’ 1:52 [p. 76] Scene 4 35:26 [p. 54] Mephistopheles 1 ‘Come along my brothers’ 3:03 [p. 82] Scene 11 35:26 [p. 54] Chorus, Valentin, Siébel 8 ‘It’s very late… Farewell!’ 7:03 [p. 76] 2 ‘We seek the soldier’s immortal prize’ 3:14 [p. 82] Marguerite, Faust Chorus

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Scene 5 35:26 [p. 54] 12 ‘May your elation, O careless love’ 2:40 [p. 88] 3 ‘Come on, Siébel, I need a drink or two!’ 2:12 [p. 83] Mesphistopheles, Faust Valentin, Siébel, Mephistopheles, Faust Scene 4 35:26 [p. 54] Scene 6 35:26 [p. 54] 13 Intermezzo 4:12 [p. 89] 4 ‘Is my love awake or sleeping’ 2:50 [p. 84] 14 ‘Go back!’ 2:14 [p. 89] Mephistopheles Faust, Mephistopheles Scene 7 35:26 [p. 54] Scene 5 35:26 [p. 54] 5 ‘What can I do for you?’ 4:07 [p. 84] 15 ‘My heart quails at the thought of this meeting!’ 2:23 [p. 89] Valentin, Mephistopheles, Faust Faust Scene 8 35:26 [p. 54] 16 ‘Ah! Do I hear my lover’s voice?’ 5:24 [p. 89] 6 ‘Over here, come at once!’ 1:49 [p. 85] Marguerite, Faust Martha, Chorus, Valentin, Marguerite, Siébel Scene 6 35:26 [p. 54] 7 ‘Pay heed to my words, Marguerite!’ 5:06 [p. 86] 17 ‘Make haste now!’ 6:29 [p. 90] Valentin, Chorus Mephistopheles, Marguerite, Faust, Chorus

Act V 32:34 [p. 54] Scene 1 35:26 [p. 54] Appendix 8 ‘Over the heather, through the marshes’ 1:15 [p. 87] Ballet Music (from Act V scene 2) 17:04 [p. 92] Chorus 18 1 Dance of the Nubian Slaves – 2:30 [p. 85] 9 ‘No further!’ 2:22 [p. 87] 19 2 Slow Dance – 4:45 [p. 85] Faust, Mephistopheles, Chorus 20 3 Ancient Dance – 1:36 [p. 85] Scene 2 35:26 [p. 54] 21 4 Cleopatra’s Variations – 1:42 [p. 85] 10 ‘Till the sun awakes in the east’ 3:59 [p. 87] 22 5 Dance of the Trojan Women – 2:10 [p. 85] Mesphistopheles, Chorus, Faust 23 6 Mirror Variations – 1:53 [p. 85] 11 ‘Honeyed nectar, share your pleasure’ 1:31 [p. 88] 24 7 Phryne’s Dance 2:28 [p. 85] Faust, Chorus, Mephistopheles TT 72:23 [p. 85]

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opera in English was planned for the following recorded it again in the late 1940s in France in Charles Gounod: Faust year, Santley suggested that the composer the original language with a French cast. might write a song for him using a melody that Although it went through something of a appears in the Prelude. So it came about that trough in popular esteem after that, it has An old friend of Gounod’s, the Abbé Gay whenever the opera has been given, which has the famous baritone cavatina was born. The seldom been out of the repertory of British commented after the 1859 premiere of what been very often. critic Henry Chorley wrote the words: ‘Even companies, being presented regularly both at was to become the composer’s most popular First presented at the Théâtre Lyrique as an bravest heart may swell’ [‘Duty bids me leave Covent Garden and at Sadler’s Wells (most score: ‘The world has got into him and has opéra comique, i.e. with dialogue, in 1859, it this place’ in the present recording]. It was an recently at English National Opera in Ian chased out Jesus Christ.’ That is an apt reached the Opéra ten years later when it was immediate success, and has been a staple of Judge’s much-admired staging with John comment on a composer who found it hard to performed with the recitative Gounod had baritone recitals ever since. Tomlinson as Mephistopheles). reconcile his twin stars: the love of God and written for a Strasbourg performance in 1860, When the work reached the Opéra, a ballet During his tenure of the Prix de Rome, the love of sensuality, something reflected in and that is the form in which it is usually was needed, a sine qua non in Paris. Gounod from 1839 to 1842, Gounod’s interest in the his compositions. His oratorios and other presented today. It received its 2000th was disinclined to write one, having reverted to first part of Goethe’s work was aroused by sacred works are now largely forgotten; his performance there in 1944 and had reached its his religious mode, and suggested his pupil reading Gérard de Nerval’s translation of the works for the theatre, or at least two of them, 2836th by the time of Jorge Lavelli’s new Saint-Saëns for the task. As the latter composer play. He immediately fell in love with it, Faust and Roméo et Juliette, live on, performed production in 1975, a tribute in itself to its commented in his memoirs, he was deciding to turn this ‘fabulous story’ into in all operatic capitals. Religious aspirations longevity and popularity. It was first heard in embarrassed by the commission and hurried to music. His travels in Goethe’s own country, began to take a back seat when Gounod met Italy, at La Scala, in 1862. Most of the Gounod’s home at St Cloud to persuade him to abounding in ancient legends, served to Pauline Viardot, the celebrated singer, who had alterations and abridgements made on that compose the music. Engaged in a card game strengthen his will. Then he heard Berlioz’s drawn his attention to the opera house. occasion became traditional thereafter, including with an abbé, Gounod nodded but said La damnation de Faust, which profoundly Another commentator, the painter Delacroix the elimination of the Walpurgis Night scene. nothing. In the end he consented to write the moved him. However, it did not inhibit his averred: ‘A composer writes Faust and that It was introduced to England in 1863, being delightful score, given here as an appendix. The own wish to set Goethe; quite the contrary, it makes him forget all about Hades.’ The battle given every season until 1911 (much to the work, which inaugurated the Metropolitan proved a stimulus. In 1849, he made an early in Gounod’s soul between the sacred and the annoyance of Bernard Shaw, who reviled it), in Opera House in New York in 1883, was soon attempt at setting the church scene. profane is aptly adumbrated in his most Italian, then the lingua franca of opera in as popular in the USA as elsewhere. Then he met the writers who were to be the famous opera. He cleverly, though perhaps Britain as elsewhere. For the London premiere Sir Thomas Beecham was one of Faust’s librettists of Faust, Jules Barbier and Michel subconsciously, turned the theatre into the at Her Majesty’s Theatre, Sir Charles Santley main advocates, and he made a recording in Carré, the latter the author of a play Faust et pulpit, adapting his religious style to the undertook the role of Valentin. Gounod English in 1929, with a cast derived from the Marguerite, seen by Gounod in 1850. That dictates of the theatre. It was a manner that has attended the performance, meeting the famed British National Opera Company headed by provided the basis for the opera’s libretto. obviously appealed to the public wherever and baritone, so when the first performance of the Heddle Nash and Miriam Licette, and then Barbier reduced the play to just the right 10 11 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 12

dimensions to suit Gounod. He eliminated or not match up to the philosophical challenges was also influenced by Halévy and the Rossini and the already mentioned solo for Valentin, conflated characters and incidents, essential of the original, which Berlioz and Boito in of the French works written for Paris at the end which seems ideally to characterize that when a play is accommodated to the slower their Faustian music-dramas come closer to of his operatic career, culminating in upright fellow. Then there’s Marguerite’s pace of opera. Only Mephistopheles and some meeting. Gounod was understandably, given Guillaume Tell. Gounod’s style was at the time anticipatory excitement as disclosed in her demons remain of supernatural characters. his background, more interested in the moral as much admired as that of Verdi and Wagner. Jewel Song, contrasting with the slightly Siébel is virtually a new creation, shyly and aspect – with Marguerite’s downfall and final In England he was seen as Mendelssohn’s true antique-sounding, elegiac King of Thulé song. virtuously in love with Marguerite. Faust’s redemption through repentance and with successor. Verdi himself admired Gounod The Kermesse waltz, encountered so often complex psychology is boiled down to a Faust’s doomed attempt to recover his youth in although, perhaps rightly, he missed in his out of context, delicately playing off chorus struggle between lust and pure love. making a pact with the Devil incarnate. His music the fibra drammatica. The work’s very and orchestra, is memorable. Mephistopheles’s Marguerite is simple innocence betrayed and librettists provided him with just the situations conventionality undoubtedly led to its quick two solos may not have the subtlety of their eventually redeemed. The Prison Scene and the he needed. acceptance, the musical forms being those that counterparts in Berlioz’s setting of Goethe’s closing apotheosis, not in Carré’s play, were At an early age Gounod had been fascinated any opera-lover of the day would have been masterpiece, but are probably more remarkable added; so was the death of Valentin. with a work that tackles the same issue as acquainted with, most notably those of in terms of melody: the devil may indeed have Gounod finished composing the opera in Faust, Mozart’s Don Giovanni. He declared in Mephistopheles’s solos, couplets, that is with a the best tune in his insinuating Serenade. 1858. It was immediately put into rehearsal at his autobiography that: repeated verse, and of Faust’s ternary cavatina, Young Siébel is nicely pictured in his little, the Théâtre Lyrique, where Léon Carvalho was The first notes of the overture, with the solemn, ‘Salut, demeure chaste et pure’ (This pure artless solo. The Church Scene, in which director. His wife Marie Miolan Carvalho was majestic chords taken from the Commendatore’s abode of simple virtue) with a modulating Marguerite’s isolation is graphically depicted to be Marguerite; hence her prominence in the final scene seemed to lift me into a new world. middle section. The marching rhythms that against an impersonal background of archaic score. The premiere had to be postponed I was chilled by a sensation of actual terror. But pervade parts of the score would not be out of organ and chanting chorus, evokes other because the tenor singing Faust lost his voice at when I heard that terrible thundering roll of place in Meyerbeer’s works. thoughts, not so musically inspired but the dress rehearsal and had to be replaced. The ascending and descending scales, stern and Yet these aspects of the work would not effective as theatre. So are Marguerite’s hymn Church Scene had to be omitted (a practice implacable as a death warrant, I was seized with suffice to account for Faust’s immense and to the evening and Faust’s part in it at the close that at one time was often followed) because such shuddering fear that my head fell on my continuing popularity. That is explained by a of Act III, with the hero returning into her the Culture Ministry was at the time anxious mother’s shoulder and, trembling in the dual gift that is peculiarly Gounod’s. It is the arms, while Mephistopheles laughs sardonically to avoid a row with the Vatican, during a time embrace of beauty and of horror, I could only lyricism found particularly in Faust’s cavatina offstage, not to forget Valentin’s death scene when the unification of Italy was much in the murmur ‘this is real music indeed!’ and in the extended Garden duet in Act III for and the final trio, which are the very stuff of air. The premiere was favourably received, not Thus spoke the future composer of Faust. Marguerite and Faust, the very heart of the late-Romantic French opera. least because of the prima donna’s singing. Gounod’s score was composed under the opera, with its sensuous, finely shaped melody. Nor should one overlook Gounod’s mastery Superior persons have often criticized the influence of Meyerbeer, who – we must never No less so is the short, significant scene of the of orchestration, most notable in the interplay opera as a travesty of Goethe because its does forget – was then hugely popular in France. He lovers’ first meeting, gracefully Gallic in timbre with the voices in the Act III quartet, or indeed 12 13 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 14

the Soldiers’ Chorus, hackneyed as it may have sitting at her spinning wheel. He signs the cross-shaped guards of their swords. is pregnant with his child. She goes to pray. become by being used out of context. It is document, drinks from the goblet which Mephistopheles cowers and withdraws. The soldiers return with Valentin, and Siébel highly effective in its place at the start of Act Mephistopheles offers him, and is immediately The crowd gathers for the dance. Faust and tries to persuade him not to enter the house. IV. No matter how much it is denigrated, Faust transformed into a young man. Mephistopheles enter and see Marguerite. But he pushes Siébel aside and enters. works as music-drama. It is also one of the most Faust offers her his arm, but she politely Mephistopheles sings a mocking serenade grateful pieces to sing and Gounod’s music has Act II refuses. He is more entranced than ever. to Marguerite on behalf of Faust. Valentin been graced by virtually all the stars of opera There is a gathering outside an inn at one rushes out of the house and demands since it was first staged. In an age when singable of the town gates. Students, townsmen, soldiers Act III satisfaction from his sister’s seducer. He and melody in new work is at such a premium, and women young and old are gathered, Siébel gathers flowers for Marguerite, and as Faust fight and through Mephistopheles’s Gounod’s gift in that field shines out like a singing joyfully. Marguerite’s brother Valentin prophesied, they wither and die. Holy water intervention Valentin falls, mortally wounded. bright beacon. We mock that gift – and indeed and his young friend Siébel join the throng. breaks the curse, and he leaves her a bouquet. With his dying words Valentin curses the sentiments of an earlier age – at our peril. Valentin has been given a medallion by Mephistopheles leaves a box of jewels for her. Marguerite. Marguerite, before he goes off to war, and Meanwhile Marguerite sings an old ballad, and © 1999 Alan Blyth he asks Siébel to look after his sister while when she finds the jewels and puts them on Act V he is away. she sees a different woman in the mirror. Her Walpurgis Night: a chorus of will o’ the wisps Synopsis Wagner tries to cheer things up and begins elderly neighbour Martha comments that they is heard as Faust and Mephistopheles appear. to sing. He is interrupted by Mephistopheles must be a gift from an admirer. Faust is shown a vision of Marguerite and Act I who sings the Song of the Golden Calf and Faust and Mephistopheles enter, Faust demands to be taken to her. Faust, an aged philosopher, sits in his study. reads the palms of those around him; he tells wooing Marguerite and Mephistopheles Marguerite has been imprisoned for killing He despairs of solving the riddle of the Siébel that every flower he touches will die. flirting with Martha. Marguerite begins to her child, and Faust and Mephistopheles come universe and, disillusioned, resolves to poison Rejecting the inferior wine that he is offered by weaken but breaks away from Faust’s embrace to save her. She seems to recognize Faust and himself. As he is about to drink the poison he Wagner, Mephistopheles causes wine to flow and runs back to her house. Mephistopheles remembers the night when he first seduced her. hears the voices of women and farm labourers from the inn sign, and toasts Marguerite. summons up all the intoxicating odours from Faust encourages her to leave with him, but she on their way to work. He curses life and old This angers Valentin and both draw their the night flowers, and Marguerite opens her prays to God to forgive her. As she dies, age and calls upon the devil to help him. swords. Mephistopheles traces a circle around window to confess her love for Faust to the Mephistopheles damns her, but angelic voices Mephistopheles appears and offers riches and himself with the point of his sword and when night. He emerges from the shadows and she proclaim that she is saved. power, but what Faust longs for is youth. This Valentin thrusts his own sword into this circle welcomes him into her house. Mephistopheles will grant only if Faust signs the blade shatters. Realizing who his opponent Appendix away his soul. When Faust hesitates he is is, Valentin and his friends advance on Act IV The ballet music composed for the Paris Opéra shown a vision of the beautiful Marguerite Mephistopheles, holding towards him the Marguerite has been abandoned by Faust and is included here as an appendix. 14 15 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 16

Paul Charles Clarke was born in Liverpool and at the Metropolitan Opera (Giorgio Adina and Anne Trulove, and she has Diana Montague studied at the Royal studied at the Royal College of Music with (I puritani), Raimondo (Lucia di performed with the Royal Opera, Opera Northern College of Music. Since her debut as Neil Mackie; he was the winner of the 1989 Lammermoor)), the Opéra national de Paris North, Glyndebourne Festival Opera, Zerlina with Glyndebourne Touring Opera she Kathleen Ferrier Competition. Roles have (Raimondo), Vienna (Giorgio), San Francisco Garsington Opera and at the Metropolitan has appeared in the world’s leading opera included the Duke (Rigoletto), Fenton (Giorgio, Raimondo and Basilio (Il barbiere di Opera, New York. houses and concert halls including: the Royal (Falstaff ) in Japan and at the Edinburgh Siviglia)), Amsterdam (Figaro), and the Royal Television appearances include Opera Opera House, Covent Garden; the Festival, Rodolfo (La bohème), Alfredo (La Opera (Lord Sydney (Il viaggio a Rheims)). Factory’s Le nozze di Figaro, and First Metropolitan Opera, New York; La Monnaie, traviata) and the title role in Faust for Welsh Alastair Miles’s successful concert career Enchantress (Dido and Aeneas), also for Brussels; the Paris Bastille; Teatro Colon, National Opera, Alfredo and Nemorino takes him worldwide to perform with Chandos. Recordings include Mercadante’s Buenos Aires; and the Bayreuth and Salzburg (L’elisir d’amore) for Scottish Opera, Rodolfo conductors such as Carlo Maria Giulini, Zubin Emma d’Antiochia and Pacini’s Maria regina Festivals. and Dmitri (Boris Godunov) for Opera North, Mehta, Riccardo Muti, Myung-Whun Chung, d’Inghilterra for Opera Rara, and L’enfant et les Her repertoire includes the major mezzo- and Cassio (Otello), Tybalt (Roméo et Juliette, Kurt Masur, Valery Gergiev and John Eliot sortilèges. She has given recitals and concerts soprano roles by Mozart, Gluck, Strauss, and Alfredo for the Royal Opera House. He Gardiner, and the world’s most prestigious throughout the world performing with Rossini, Bellini and Berlioz. Her frequent has also appeared abroad with Seattle Opera, orchestras. Amongst his recordings are a international orchestras. concert engagements have included many Monte Carlo Opera, Houston Grand Opera, Gramophone Award-winning recording of performances with leading conductors, and her Cincinnati Opera and the Metropolitan Elijah, Verdi’s Requiem, Handel’s Saul and Garry Magee’s operatic roles include many recordings include I Capuleti e Opera, New York. Agrippina, and for Chandos Caractacus, The Guglielmo (Così fan tutte) and Prince Afron I Montecchi, Norma, Lucia di Lammermoor, Recordings include Tybalt (Roméo et Juliette Rape of Lucretia and La bohème (the latter in (Le coq d’or) for the Royal Opera, Eddy (Greek) Iphigénie en Tauride, Il crociato in Egitto (for under Leonard Slatkin), Arturo (Lucia under association with the Peter Moores with the London Sinfonietta, Malatesta (Don Opera Rara), and Cavalleria rusticana and a Sir Charles Mackerras) and Don Caesar Foundation). Pasquale) at La Monnaie, Silvano (Un ballo in disc of Great Operatic Arias (for (Wallace’s Maritana). Future plans include maschera) for Monte Carlo Opera, Yeletsky Chandos/Peter Moores Foundation). further appearances with the Metropolitan Mary Plazas studied at the Royal Northern (La dame de pique) for Flanders Opera, the Opera, New York, Welsh National Opera College of Music and the National Opera Steward (Flight) for Glyndebourne Festival Matthew Hargreaves studied at the Guildhall (including the title role in Don Carlos to open Studio, and won the 1991 Kathleen Ferrier Opera, Mountjoy (Gloriana) for Opera School of Music and Drama with Rudolph the new opera house in Cardiff in 2002), and Memorial Scholarship. She made her operatic North, and the title role in Eugene Onegin Piernay, and won the Decca Prize in the 1997 Seattle, as well as his debut with the Deutsche debut as the Heavenly Voice (Don Carlos) with for British Youth Opera. Concert appearances Kathleen Ferrier Award Compteition. His roles Oper, Berlin. English National Opera and was an ENO include Rachmaninov’s Spring Cantata with include Figaro, Dandini (La cenerentola), the Company Principal from 1995 to 1998. Roles the City of Birmingham Symphony Orchestra Magistrate (Werther), Fiorello (Il barbiere di Alastair Miles, internationally recognized as have included the title role in The Cunning and the Orchestra of the Komische Oper Siviglia) for English Touring Opera, and one of this country’s leading singers, has sung Little Vixen, Micaëla, Mimì, Leila, Nanetta, Berlin. Polyphemus (Acis and Galatea) and Leporello 16 17 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 18

for Opera Atelier in Toronto. He has also contemporary music. This resulted in Sir Harrison Birtwistle and the orchestra’s Spanish production of The Rake’s Progress, appeared at the Covent Garden Festival, with conducting invitations from the BBC and visiting composer, James MacMillan. inaugurated two new concert halls with Broomhill Opera, Opera italiana, British Youth subsequently to a wider involvement with his Beethoven’s Ninth Symphony and a new opera Opera and Pavillion Opera. Recordings own singers and this led to the establishment David Parry studied with Sergiu Celibidache house with Carmen. He has also appeared in include the Bosun (Billy Budd ) with the Hallé of the Geoffrey Mitchell Choir. Early and began his career as Sir John Pritchard’s Italy, where he conducted Ricciardo e Zoraide Orchestra and Kent Nagano, the Abbot recordings resulted in the choir’s long-term assistant. He made his debut with English in the Rossini Opera Festival at Pesaro, in (Curlew River) and Rambaldo (Maria di involvement with Opera Rara for whom they Music Theatre and went on to become a staff France, Germany, Belgium, Holland, and in Rudenz) for Opera Rara. have recorded fifteen operas, and it is currently conductor at Städtische Bühnen Dortmund Sweden where he conducted an acclaimed enjoying a growing reputation with further and at Opera North. He was Music Director of production of Britten’s A Midsummer Night’s Sarah Walker is one of Britain’s most work from the BBC and international Opera 80 from 1983 to 1987, and since 1992 Dream. distinguished artists. She has sung with the recording companies. has been the founding Music Director of the Outside Europe David Parry has appeared at world’s great orchestras, at the major British contemporary opera festival Almeida Opera. the Hong Kong International Festival, with the and European festivals, was a memorable When he formed the Philharmonia Orchestra He pursues a busy career both in opera and UNAM Symphony Orchestra at Mexico City, soloist at the Last Night of the Proms, and Walter Legge realized his great ambition of in concert. His repertoire extends from Mozart with a tour of Carmen in Japan and, in 1996, sang under Bernstein in Beethoven’s Ninth forming a hand-picked orchestra of world-class and early nineteenth-century Italian opera to conducting a new production of Katya Symphony in Berlin to celebrate the fall of the standing. The Philharmonia Orchestra gave its Janácˇek, Britten and contemporary music. In Kabanova for the New Zealand Festival. Berlin Wall. She is an acclaimed recitalist and first concert under Sir Thomas Beecham in England he has appeared regularly at English He has recorded extensively for the Opera has recorded widely. October 1945 and rapidly became recognized National Opera and in concert with the Rara label, the most recent issue being In opera she has sung at the Royal Opera as one of the world’s truly great orchestras. Philharmonia. In 1996 he made his debut at Donizetti’s Rosmonda d’Inghilterra, which won House, Covent Garden, English National Many world-famous conductors have been the Glyndebourne Festival with Così fan tutte. the Prix Cecilia in Belgium and for Chandos Opera, Vienna, Geneva, Monte Carlo, Paris, associated with the orchestra and it remains the He is a frequent visitor to Spain where he he has conducted the award-winning recording Barcelona, Madrid, Brussels, Hamburg, San world’s most recorded orchestra, with a has appeared with most of the opera of Tosca, three recordings of operatic arias Francisco, Chicago, La Scala, Milan, the discography of over one thousand recordings companies and symphony orchestras. He gave (with Bruce Ford, Diana Montague and Metropolitan Opera, New York, and the including operas for the Peter Moores the Spanish premiere of Peter Grimes in Dennis O’Neill), Don Pasquale, La bohème, Glyndebourne Festival. Sarah Walker was Foundation/Opera Rara. The Philharmonia’s Madrid, and in 1996 he conducted the first Cavalleria rusticana and Pagliacci. made a CBE in the 1991 Queen’s Birthday position as ‘London’s leading orchestra’ stems Honours. from its vitality, unique warmth of sound and commitment to commissioning and Geoffrey Mitchell’s singing career encompassed performing music by leading contemporary a remarkably wide repertoire from early to composers such as the late Witold Lutoslawski, 18 19 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 20

to various young artists, several of whom – such as Geraint Evans, Joan Sutherland and Colin PETER MOORES, CBE, DL Davis – have since become world-famous. Moores has always been astute in his recognition Peter Moores was born in Lancashire in 1932, son of Sir John Moores, founder of the giant of potential quality. In 1964 he set aside a large slice of his inheritance to found the Peter Littlewoods mail order, chain store and football pools group. He was educated at Eton and Moores Foundation, a charity designed to support those causes dear to his heart: to make Christ Church, Oxford, where he read Modern Languages. He was already fluent in music and the arts more accessible to more people; to give encouragement to the young; to German and Italian. It was opera which was his great love, however. He had worked at fight discrimination and to improve race relations. 99% of the Foundation’s money has come Glyndebourne before going up to university, and at the end of his second year he left from Peter Moores’s own pocket – so far about £33 million in today’s money. Oxford to become a production student at the Vienna State Opera. He was required to attend morning rehearsals and evening performances, but the afternoons were free, so he enrolled as well for a four-year course at the Viennese Academy of Music and Dramatic Art. PETER MOORES FOUNDATION By the end of his third year Moores had produced the Viennese premiere of Britten’s In the field of music, the Peter Moores Foundation awards scholarships to promising young The Rape of Lucretia, had worked as Assistant Producer at the opera singers through the Royal Northern College of Music. Financial help may be given also San Carlo Opera House, Naples, the Geneva Festival and the to enable a singer to study abroad, or to work on a new role with an acknowledged expert in Rome Opera, and seemed set for a successful operatic career. the repertoire. At this point he received a letter from his father asking him In the last twenty years the Foundation has supported the recording of forty operas. Many to come home as he was needed in the firm. Family loyalty are sung in English, in translation, because Moores believes that in the popular repertoire, ‘what people want is to be able to follow the plot of an opera and understand what is going

was paramount and he returned to Liverpool immediately. Christina Burton/PMF By 1977 he was Chairman of Littlewoods. Three years on’. Others are of interesting but unperformed Italian operas from the early nineteenth later he stepped down from the post, although still century (the age of bel canto), which are otherwise only accessible to scholars. Accessibility is remaining on the Board, and was director of a merchant the key word. bank. From 1981 to 1983 he was a Governor of the BBC, The same criterion holds where live opera is concerned. So the Foundation may sponsor and a Trustee of the Tate Gallery from 1978 until 1985. In Welsh National Opera, performing for a week at the Liverpool Empire and charging only May 1992 he became a Deputy Lieutenant of Lancashire. £2.50 per ticket – the provision being that each ticket holder must be a first-time opera And in the New Year’s Honours List for 1991 he was made a visitor – or it may fund the production at Glyndebourne of Ermione, a bel canto opera never CBE for his charitable services to the Arts. before performed in England. He had started his early twenties giving financial support Peter Moores, CBE, DL The aim is always the same: availability. ‘Share and enjoy’ is his philosophy.

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und danach jede Saison bis 1911 gespielt (sehr nach St. Cloud, um ihn zu überreden, die Charles Gounod: Faust zum Ärger von Bernard Shaw, der sie Musik selbst zu komponieren. Gounod, der abscheulich fand), und zwar in italienischer mit einem Abbé am Kartentisch saß, nickte, Sprache, der lingua franca der Oper in sagte jedoch nichts dazu. Am Ende willigte er Ein alter Freund Gounods, der Abbé Gay, treffend umrissen. Er verwandelte geschickt, Großbritannien und anderswo. Bei der ein, das amüsante Stück zu schreiben, das hier bemerkte 1859 im Anschluß an die wenn auch vielleicht unbewußt das Theater in Londoner Premiere an Her Majesty’s Theatre als Anhang gespielt wird. Das Werk, mit dem Uraufführung der Oper, die das populärste eine Kanzel und paßte sich mit seinem sakralen übernahm Sir Charles Santley die Rolle des 1883 das Metropolitan Opera House in New Werk des Komponisten werden sollte: “Die Stil dem Diktat der Bühne an. Dieser Stil hat Valentin. Gounod besuchte die Vorstellung York eröffnet wurde, war in den USA bald so Welt ist in ihn eingedrungen und hat Jesus offenbar das Publikum angesprochen, wo und und lernte den berühmten Bariton kennen. Als populär wie andernswo auch. Christus verscheucht.” Das ist eine passende wann immer das Werk gespielt wurde, und das dann für das folgende Jahr die erste Sir Thomas Beecham war einer der Bemerkung über einen Komponisten, dem es ist sehr oft geschehen. Aufführung der Oper in englischer Sprache Hauptbefürworter des Faust und nahm 1929 schwerfiel, seine beiden Leitsterne miteinander Es wurde 1859 zunächst am Théâtre- angesetzt wurde, schlug Santley vor, der eine Einspielung in englischer Sprache vor, mit zu versöhnen – die Liebe zu Gott und die Lyrique als opéra comique, also mit Dialogen Komponist solle unter Verwendung einer einer Besetzung aus Ensemblemitgliedern der Liebe alles Sinnlichen –, die sich in seinen aufgeführt und gelangte erst zehn Jahre später Melodie, die im Vorspiel vorkommt, eine British National Opera Company unter der Kompositionen widerspiegeln. Seine Oratorien an die Opéra; dort wurde es mit den Gesangsnummer für ihn schreiben. So Führung von Heddle Nash und Miriam und sonstigen Sakralwerke sind heute im Rezitativen aufgeführt, die Gounod für eine erblickte die bekannte Bariton-Kavatine das Licette, und nahm die Oper Ende der vierziger wesentlichen vergessen; seine Werke für die Straßburger Aufführung im Jahr 1860 Licht der Welt. Der Kritiker Henry Chorley Jahre erneut auf, diesmal in Frankreich, in der Bühne oder wenigstens zwei davon, Faust und geschrieben hatte, und in dieser Form wird es schrieb den Text: “Even bravest heart may Originalsprache und mit einer französischen Roméo et Juliette, leben weiter und werden in heute gewöhnlich dargeboten. Die swell” [“Duty bids me leave this place” auf Besetzung. Obwohl ihr Ansehen beim allen Opernmetropolen aufgeführt. Gounods 2000. Vorstellung fand dort 1944 statt, die dieser Aufnahme]. Das Stück war ein Publikum danach ein wenig ins Hintertreffen religiöse Bestrebungen traten in den 2836. um die Zeit von Jorge Lavellis unmittelbarer Erfolg und gehört seither zum geriet, hat sie ihren Platz im Repertoire Hintergrund, als er Pauline Viardot Neuinszenierung 1975 – positives Zeugnis für festen Programm von Bariton-Recitals. britischer Ensembles kaum einmal verloren, kennenlernte, die gefeierte Sängerin, die seine seine Langlebigkeit und Popularität. In Italien, Als das Werk die Opéra erreichte, wurde ein sondern wurde regelmäßig nicht nur in Covent Aufmerksamkeit auf das Opernhaus lenkte. an der Mailänder Scala, war das Werk erstmals Ballett benötigt – ein sine qua non in Paris. Garden, sondern auch am Sadler’s Wells Ein anderer Kommentator, der Maler 1862 zu hören. Die meisten Änderungen und Gounod war wenig geneigt, es zu schreiben, Theatre aufgeführt (zuletzt von der English Delacroix, behauptete: “Ein Komponist Kürzungen, die bei dieser Gelegenheit denn er hatte sich gerade wieder dem Sakralen National Opera in der vielbewunderten schreibt Faust und vergißt prompt alles, was vorgenommen wurden, sind seither Tradition zugewandt, und schlug seinen Schüler Saint- Inszenierung von Ian Judge mit John den Hades betrifft.” Der Kampf zwischen dem geworden, darunter auch die Streichung der Saëns für die Aufgabe vor. Wie letzterer in Tomlinson als Mephistopheles). Sakralen und dem Profanen, der in Gounods Walpurgisnachtszene. seinen Memoiren feststellt, stürzte ihn der Als Stipendiat des Prix de Rome von 1839 Seele tobt, wird in seiner bekanntesten Oper In England wurde die Oper 1863 eingeführt Auftrag in Verlegenheit; er eilte zu Gounod bis 1842 wurde Gounods Interesse am ersten 22 23 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 24

Teil von Goethes Werk dadurch geweckt, daß schlichte Unschuld, die betrogen und verständlicherweise mehr am moralischen nie vergessen – damals in Frankreich er Gérard de Nervals Übersetzung des schließlich gerettet wird. Die Kerkerszene und Aspekt interessiert – an Marguerites Untergang ungeheuer populär war. Außerdem ließ er sich Schauspiels las. Er verliebte sich augenblicklich die Apotheose zum Schluß, die in Carrés Stück und abschließenden Erlösung durch Reue von Halévy beeinflussen, und von Rossinis in das Stück und beschloß, diese “fabelhafte nicht vorkommen, wurden hinzugefügt, sowie an Fausts mißlungenem Versuch, seine französischen Werken, die dieser am Ende Geschichte” in Musik umzusetzen. Seine Reise ebenso der Tod Valentins. Jugend zurückzugewinnen, indem er mit dem seiner Opernkarriere für Paris geschrieben in Goethes Heimatland mit seiner Fülle alter Gounod beendete die Komposition der Teufel in Menschengestalt einen Pakt schließt. hatte und die in Guillaume Tell gipfelten. Legenden bestärkte ihn in seinem Vorhaben. Oper 1858. Man fing am Théâtre-Lyrique, wo Gounods Librettist lieferte ihm genau die Gounods Stil wurde zu jener Zeit ebenso Dann hörte er Berlioz’ La damnation de Faust, Léon Carvalho Direktor war, sogleich mit den Situationen, die er brauchte. bewundert wie der von Verdi und Wagner. das ihn tief berührte. Sein Wunsch, Goethe zu Proben an. Seine Gemahlin Marie Miolan Schon in jungen Jahren hatte sich Gounod In England sah man ihn als den wahren vertonen, wurde durch das Erlebnis nicht Carvalho sollte die Marguerite geben, deshalb für ein Werk begeistert, das die gleiche Nachfolger Mendelssohns. Verdi selbst gemindert; ganz im Gegenteil, es erwies sich steht sie in der Partitur so sehr im Thematik behandelt wie Faust: Mozarts bewunderte Gounod, auch wenn er – vielleicht als Anreiz. 1849 unternahm er einen ersten Vordergrund. Die Premiere mußte verschoben Don Giovanni. In seiner Autobiographie legte zu Recht – in seinem Schaffen die fibra Versuch, die Domszene zu komponieren. werden, weil der Tenor, der den Faust sang, auf er dar: drammatica vermißte. Gerade der Dann lernte er die Dichter Jules Barbier und der Kostümprobe die Stimme verlor und Die ersten Noten der Ouvertüre mit den konventionelle Charakter des Werks hat Michel Carré kennen, die späteren Librettisten ersetzt werden mußte. Die Kirchenszene feierlichen, majestätischen Akkorden aus der zweifellos zu seiner raschen Annahme geführt, des Faust. Carré war der Verfasser eines Stücks mußte ganz ausgelassen werden (eine Praxis, letzten Szene des Komturs schienen mich in eine denn die verwendeten musikalischen Formen mit dem Titel Faust et Marguerite, das Gounod die zeitweise häufige Nachahmung fand), weil neue Welt zu versetzen. Ein Gefühl echten sind solche, mit denen seinerzeit jeder 1850 auf der Bühne sah. Es lieferte die das Kulturministerium darauf bedacht war, in Grauens ließ mich frösteln. Als ich jedoch das Opernliebhaber vertraut war; das gilt Grundlage für das Libretto der Oper. Barbier einer Zeit, in der die Vereinigung Italiens in furchtbare Donnergrollen auf- und absteigender insbesondere für die Soli und Couplets des kürzte das Stück auf genau den Umfang ein, der Luft lag, Streit mit dem Vatikan zu Tonleitern vernahm, hart und unerbittlich wie Mephistopheles mit wiederholten Zeilen und der Gounod zusagte. Er strich oder verschmolz vermeiden. Die Uraufführung wurde ein Hinrichtungsbefehl, wurde ich von einer für Fausts dreiteilige Cavatine “Salut, demeure Figuren und Ereignisse – unverzichtbar, wenn wohlwollend aufgenommen, nicht zuletzt dank solch schauderhaften Angst erfaßt, daß mein chaste et pure” (This pure abode of simple ein Stück dem langsameren Voranschreiten der der Gesangsleistung der Primadonna. Kopf an die Schulter meiner Mutter sank und ich virtue) mit ihrem modulierenden Mittelteil. Oper angepaßt wird. Nur Mephistopheles und Überhebliche Menschen haben der Oper oft bebend in der zweifachen Umarmung von Die Marschrhythmen, die streckenweise die einige Geistererscheinungen sind von den vorgeworfen, sie sei ein Zerrbild von Goethes Schönheit und Entsetzen nur zu raunen Partitur erfüllen, wären in Meyerbeers Werken übernatürlichen Figuren geblieben. Siébel ist Original, da sie den dort aufgeworfenen vermochte: “Das ist in der Tat wahrhaftige auch nicht fehl am Platz. im Grunde eine Neuschöpfung, zaghaft und philosophischen Fragen nicht gerecht wird, Musik!” Und dennoch würden diese Aspekte des virtuos in Marguerite verliebt. Fausts komplexe was Berlioz und Boito in ihren Musikdramen So sprach der künftige Komponist des Faust. Werks nicht ausreichen, um die immense und Psyche wird auf das Ringen zwischen Lust und zum Faust-Thema eher gelingt. Gounod war in Gounods Komposition stand unter dem nach wie vor andauernde Beliebtheit von Faust reiner Liebe verkürzt. Marguerite ist ganz Anbetracht seiner Vorgeschichte Einfluß von Meyerbeer, der – das dürfen wir zu begründen. Die erklärt sich aus einer 24 25 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 26

besonderen Gabe Gounods, dem lyrischen befriedigend dargestellt. Die Domszene, in der erstrahlt Gounods Fähigkeit auf diesem Gebiet II. Akt Gepräge, das er vor allem Fausts Cavatine Marguerites Vereinsamung vor einem wie ein Fanal. Sich über diese Fähigkeit – und Vor einer Schenke an einem der Tore der Stadt verleiht, und dem langen Gartenduett im unpersönlichen Hintergrund aus archaischer auch sonst über die Empfindsamkeiten einer herrscht reges Treiben. Studenten, Bürger, III. Akt für Marguerite und Faust, das mit Orgel und eintönigem Chorgesang aufgezeigt vergangenen Epoche – lustig zu machen, kann Soldaten und Frauen jeden Alters haben sich seiner sinnlichen, raffiniert angelegten Melodie wird, beschwört andere Gedanken herauf, was leicht auf einen selbst zurückfallen. dort vesammelt und singen ein fröhliches Lied. das eigentliche Herzstück der Oper ist. Nicht nicht so sehr musikalisch inspiriert, aber doch Marguerites Bruder Valentin und dessen junger weniger lyrisch sind die kurze, bedeutsame bühnenwirksam ist. Das gleiche gilt für © 1999 Alan Blyth Freund Siébel mischen sich unter die Leute. Szene mit der ersten Begegnung der Marguerites Hymne an den Abend und Fausts Valentin, der im Begriff steht, in den Krieg zu Liebenden, die vom Timbre her reizvoll Anteil daran am Schluß des III. Akts, wo der Inhaltsangabe ziehen, hat von Margarethe ein Medaillon gallisch ist, und das bereits angesprochene Solo Held in ihre Arme zurückeilt, während erhalten. Er bittet Siébel, seine Schwester zu für Valentin, das diesen rechtschaffenen Mephistopheles hinter der Bühne höhnisch I. Akt beschüzen, während er fort ist. Burschen ideal zu charakterisieren scheint. lacht. Und Valentins Todesszene und das Faust, ein alternder Philosoph, sitzt in seinem Wagner bemüht sich, sie aufzuheitern, und Dann wäre da noch Marguerites Vorfreude, die abschließende Trio – beide sind der Inbegriff Studierzimmer. Er verzweifelt an dem hebt zu singen an. Er wird von Mephistopheles sich in ihrer Juwelenarie offenbart und im der spätromantischen französischen Oper – Unterfangen, das Rätsel des Universums zu unterbrochen, der das Lied vom Goldenen Kontrast zu dem leicht altertümlich dürfen auch nicht in Vergessenheit geraten. lösen, und beschließft desillusioniert, sich zu Kalb singt und den Umstehenden aus der klingenden elegischen Lied vom König in Ebensowenig sollte Gounods meisterhafte vergiften. Er schickt sich an, das Gift zu trinken, Hand liest. Zu Siebel sagt er, daß jede Blume, Thulé steht. Orchestrierung übersehen werden, vor allem im als er Frauenstimmen und eine Schar Knechte die er anrühre, sterben werde. Mephistopheles Der Kirmeswalzer, dem man so oft aus dem Zusammenspiel mit den Gesangsstimmen im auf dem Weg zur Arbeit hört. Er verflucht das lehnt den minderwertigen Wein ab, den ihm Zusammenhang gerissen begegnet und der Quartett des III. Akts, oder gar der Leben und das Greisenalter und fordert den Wagner anbietet, läßt selber Wein aus dem feinfühlig Chor und Orchester gegeneinander Soldatenchor, obwohl dieser so oft aus dem Teufel auf, ihm zu helfen. Mephistopheles Wirtshausschild fließen, und trinkt Marguerite ausspielt, ist denkwürdig. Die beiden Soli von Zusammenhang gerissen wurde, daß er sich erscheint und bietet ihm Reichtum und Macht zu. Das erbost Valentin, und beide zücken ihre Mephistopheles mögen nicht so raffiniert sein abgenutzt hat. An seinem Platz am Anfang des an, doch wonach Faust sich sehnt ist Jugend. Degen. Mephistopheles zieht mit der wie ihre Entsprechung in Berlioz’ Vertonung IV. Akts ist er äußerst wirkungsvoll. Man mag Die aber ist Mephistopheles nur zu gewähren Degenspitze einen Kreis um sich, und als von Goethes Meisterwerk, sind jedoch dieses Werk noch so sehr verunglimpfen: Faust bereit, wenn Faust ihm seine Seele verschreibt. Valentin mit seiner Klinge in diesen Kreis wahrscheinlich von der Melodik her erfüllt als musikalisches Drama seine Funktion. Als Faust zögert, wird ihm eine Vision der vordringt, zersplittert sie. Valentin und seine bemerkenswerter: Es könnte durchaus sein, Außerdem ist es für Sänger eines der schönen Marguerite gezeigt, wie sie an ihrem Freunde, die erkannt haben, mit wem sie es zu daß der Teufel mit dieser schmeichlerischen dankbarsten Werke, und Gounods Musik Spinnrad sitzt. Er unterschreibt den Vertrag, tun haben, dringen auf Mephistopheles ein Serenade den anderen die beste Melodie wurde seit der ersten Inszenierung von praktisch trinkt aus dem Becher, den Mephistopheles ihm und halten ihm die kreuzförmigen Griffe ihrer weggeschnappt hat. Der junge Siébel wird in allen Opernstars beehrt. In einer Zeit, da reicht, und verwandelt sich augenblicklich in Degen entgegen. Mephistopheles duckt sich seinem kurzen, schmucklosen Solo singbare Melodien in neuen Werken so rar sind, einen jungen Mann. und entweicht. 26 27 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 28

Die Menge schreitet zum Tanz. Faust und IV. Akt Mephistopheles sie, doch da verkünden sowie Don Caesar (in Wallaces Maritana). Für Mephistopheles erscheinen und sehen Marguerite ist von Faust verlassen worden, und himmlische Stimmen, daß sie erlöst ist. die Zukunft plant Clarke weitere Auftritte an Marguerite. Faust bietet ihr seinen Arm an, sie erwartet sein Kind. Sie geht zum Gebet. der Metropolitan Opera in New York, an der doch sie weist ihn höflich zurück. Er ist von Valentin und die übrigen Soldaten kehren Anhang Welsh National Opera (unter anderem wird er ihr nur umso mehr entzückt. heim; Siebel versucht ihn vom Betreten des Die Balletmusik, die für die Paris Opéra bei der Eröffnung des neuen Opernhauses in Hauses abzuhalten, doch er schiebt Siebel komponiert wurde, ist hier als Anhang beigefügt. Cardiff im Jahr 2002 die Titelrolle in Don III. Akt beiseite und geht hinein. Carlos singen) sowie in Seattle und schließlich Siébel pflückt Blumen für Marguerite, die Mephistopheles bringt Marguerite Übersetzung: Anne Steeb/Bernd Müller sein Debüt an der Deutschen Oper in Berlin. wie vorhergesagt verwelken und sterben. stellvertretend für Faust eine spöttische Weihwasser hebt den Fluch auf, und er gibt Serenade dar. Valentin stürmt aus dem Haus Paul Charles Clarke wurde in Liverpool Alastair Miles ist als einer der führenden einen Strauß für sie ab. Mephistopheles und verlangt Genugtuung vom Verführer geboren und studierte am Royal College of Gesangssolisten Großbritanniens international dagegen hinterläßt eine Schatulle mit seiner Schwester. Er und Faust duellieren sich, Music bei Neil Mackie; 1989 gewann er den anerkannt. Er hat an der Metropolitan Opera Schmuck für sie. Derweil singt Marguerite und Mephistopheles sorgt dafür, daß Valentin Kathleen-Ferrier-Wettbewerb. Seine Rollen gesungen (Giorgio in I Puritani, Raimondo in eine alte Ballade, und als sie den Schmuck tödlich verletzt zu Boden sinkt. Sterbend umfaßten den Herzog (Rigoletto), Fenton Lucia di Lammermoor), an der Opéra national findet und anlegt, erblickt sie vor sich im belegt Valentin Marguerite mit einem Fluch. (Falstaff ) in Japan und auf dem Edinburgh de Paris (Raimondo), in Wien (Giorgio), San Spiegel eine verwandelte Frau. Ihre alte Festival, Rodolfo (La bohème), Alfredo Francisco (Giorgio, Raimondo und Basilio in Nachbarin Martha meint, es müsse V. Akt (La traviata) sowie die Titelrolle in Faust an der Il barbiere di Siviglia), Amsterdam (Figaro) und sich um das Geschenk eines Bewunderers Walpurgisnacht: Man hört einen Chor von Welsh National Opera, Alfredo und Nemorino an der Royal Opera (Lord Sydney in Il viaggio handeln. Irrlichtern, woraufhin Faust und (L’elisir d’amore) an der Scottish Opera, a Rheims). Faust und Mephistopheles treffen ein; Faust Mephistopheles erscheinen. Faust wird eine Rodolfo und Dmitri (Boris Godunow) für die Seine erfolgreiche Konzertkarriere führt umwirbt Marguerite, während Mephistopheles Vision Marguerites offenbart, und er verlangt, Opera North sowie Cassio (Otello), Tybalt Alastair Miles mit den weltweit besten mit Martha schäkert. Margarethe ist drauf und zu ihr gebracht zu werden. (Roméo et Juliette) und Alfredo am Royal Orchestern zusammen unter Dirigenten wie dran, schwach zu werden, reißt sich jedoch von Marguerite sitzt im Kerker, weil sie ihr Kind Opera House. Im Ausland ist er an der Carlo Maria Giulini, Zubin Mehta, Riccardo Faust los und eilt zurück zu ihrem Haus. getötet hat; Faust und Mephistopheles Seattle Opera, der Monte Carlo Opera, der Muti, Myung-Whun Chung, Kurt Masur, Mephistopheles beschwört die berauschenden kommen, um sie zu retten. Es hat den Houston Grand Opera, der Cincinnati Opera Valery Gergiev und John Eliot Gardiner. Zu Düfte nächtlicher Blüten herauf, und Anschein, als würde sie Faust wiedererkennen, sowie der Metropolitan Opera in New York seinen CD-Aufnahmen zählen eine mit dem Marguerite öffnet ihr Fenster, um der Nacht und sie gedenkt der Nacht, in der er sie aufgetreten. Gramophone Award ausgezeichnete ihre Liebe zu Faust zu gestehen. Da tritt er aus verführt hat. Faust redet ihr zu, mit ihm Zu seinen CD-Aufnahmen zählen Tybalt Einspielung des Elijah, Verdis Requiem, dem Dunkel hervor, und sie gewährt ihm fortzugehen, doch sie bittet Gott um (Roméo et Juliette unter Leonard Slatkin), Händels Saul und Agrippina sowie für Einlaß ins Haus. Vergebung. Als sie stirbt, verflucht Arturo (Lucia unter Sir Charles Mackerras) Chandos Caractacus, The Rape of Lucretia und 28 29 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 30

La bohème (letztere in Verbindung mit der Sinfonietta, Malatesta (Don Pasquale) an und Cavalleria rusticana sowie schließlich eine Beethovens Neunter Sinfonie anläßlich des Peter Moores Foundation). La Monnaie, Silvano (Un ballo in maschera) an CD mit großen Opernarien (für Falls der Berliner Mauer. der Monte Carlo Opera, Yeletsky (La dame de Chandos/Peter Moores Foundation). Auftritte führten sie an das Royal Opera Mary Plazas studierte am Royal Northern pique) an der Flandern-Oper, den Steward House in Covent Garden, die English National College of Music und dem National Opera (Flight) an der Glyndebourne Festival Opera, Matthew Hargreaves studierte an der Opera, nach Wien, Genf, Monte Carlo, Paris, Studio; 1991 gewann sie das Kathleen Ferrier Mountjoy (Gloriana) an der Opera North Guildhall School of Music and Drama bei Barcelona, Madrid, Brüssel, Hamburg, San Memorial Scholarship. Ihr Operndebüt feierte sowie die Titelrolle in Eugen Onegin für die Rudolph Piernay; 1997 gewann er sowohl den Francisco und Chicago, an die Mailänder sie als die Himmlische Stimme (Don Carlos) an British Youth Opera. Zu seinen Decca Prize als auch die Kathleen Ferrier Scala, die Metropolitan Opera in New York der English National Opera, wo sie auch von Konzertauftritten zählen Rachmaninows Award Competition. Zu seinen Rollen zählen und zum Glyndebourne Festival. 1991 wurde 1995–1998 als erste Sängerin engagiert war. Frühlingskantate mit dem City of Birmingham Figaro, Dandini (La cenerentola), der Magistrat Sarah Walker mit dem CBE der Queen’s Ihre Rollen umfaßten die Titelrolle in The Symphony Orchestra und dem Orchester der (Werther), Fiorello (Il barbiere di Siviglia) mit Birthday Honours ausgezeichnet. Cunning Little Vixen, Micaëla, Mimì, Leila, Komischen Oper Berlin. der English Touring Opera, sowie Polyphemus Nanetta, Adina und Anne Trulove; sie hatte (Acis und Galatea) und Leporello am Opera Geoffrey Mitchell hat im Lauf seiner Engagements an der Royal Opera, der Opera Diana Montague studierte am Royal Northern Atelier in Toronto. Weitere Auftritte hatte er Gesangskarriere ein erstaunlich umfangreiches North, der Glyndebourne Festival Opera, der College of Music. Seit ihrem Debüt als Zerlina auf dem Covent Garden Festival, mit der Repertoire erschlossen, von alter bis hin zu Garsington Opera und der Metropolitan mit der Glyndebourne Touring Opera ist sie in Broomhill Opera, der Opera italiana, der zeitgenössischer Musik. Daraus ergaben sich Opera in New York. den führenden Opernhäusern und Konzertsälen British Youth Opera und der Pavillion Opera. erst Dirigieraufträge von der BBC, dann eine Sie hatte Fernsehauftritte in Le nozze di aufgetreten, darunter das Royal Opera House in Seine CD-Aufnahmen umfassen den ausgedehntere Zusammenarbeit mit seinen Figaro (Opera Factory) und als erste Hexe in Covent Garden, die Metropolitan Opera in Bootsmaat (Billy Budd ) mit dem Hallé Sängern, die wiederum zur Gründung des Dido und Aeneas, die sie auch für Chandos New York, La Monnaie in Brüssel, die Pariser Orchestra unter Kent Nagano, den Abt Geoffrey Mitchell Choir führte. Frühe sang. Ihre CD-Aufnahmen umfassen Bastille, das Teatro Colon in Buenos Aires sowie (Curlew River) und Rambaldo (Maria di Schallplattenaufnahmen hatten zur Folge, daß Mercadantes Emma d’Antiochia und Pacinis die Festivals in Bayreuth und Salzburg. Rudenz) für Opera Rara. der Chor langfristige Beziehungen zu Opera Maria regina d’Inghilterra für Opera Rara sowie Ihr Repertoire umfaßt die großen Rara einging, für die er 15 Opern L’enfant et les sortilèges. Sie hat weltweit Recitals Mezzosopran-Rollen von Mozart, Gluck, Sarah Walker ist eine der herausragendsten aufgezeichnet hat. Derzeit genießt er dank und Konzerte mit den großen internationalen Strauss, Rossini, Bellini und Berlioz. Neben Künstlerinnen Großbritanniens. Sie hat weiterer Verpflichtungen für die BBC und Orchestern gegeben. häufigen Konzertengagements mit führenden weltweit mit den führenden Orchestern internationale Schallplattenfirmen wachsendes Dirigenten hat sie zahlreiche CD-Aufnahmen gesungen, ist auf den großen britischen und Ansehen. Garry Magee sang den Guglielmo (Così fan gemacht, darunter I Capuleti e I Montecchi, europäischen Festivals aufgetreten, feierte tutte) und Prince Afron (Le coq d’or) an der Norma, Lucia di Lammermoor, Iphigénie en unvergeßliche Soloauftritte in der “Last Night Mit der Gründung des Philharmonia Royal Opera, Eddy (Greek) mit der London Tauride, Il crociato in Egitto (für Opera Rara) of the Proms” und sang unter Bernstein in Orchestra verwirklichte Walter Legge sein 30 31 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 32

hohes Ziel, ein handverlesenes Orchester der Musikdirektor für Opera 80 und seit 1992 ist Außerhalb Europas ist David Parry bei dem Opera Rara eingespielt, zuletzt Rosmonda Spitzenklasse aufzustellen. Das Philharmonia er der Musikdirektor (und Gründer) des Hongkong International Festival und mit dem d’Inghilterra von Donizetti, das in Belgien mit Orchestra gab sein erstes Konzert unter Sir zeitgenössischen Opern-Festivals Almeida UNAM Symphony Orchestra in Mexico City dem Prix Cecilia ausgezeichnet wurde; für Thomas Beecham im Oktober 1945 und war Opera. aufgetreten, war mit Carmen in Japan auf Chandos hat er eine preisgekrönte Tosca bald als eines der wahrhaft großen Orchester Parrys Tätigkeitsbereich ist nicht nur das Tournee und leitete eine Neuinszenierung aufgenommen, drei Aufnahmen operatischen der Welt angesehen. Viele bekannte Dirigenten Opernhaus, sondern auch der Konzertsaal. von Katja Kabanova für das Festival in Arien (mit Bruce Ford, Diana Montague und haben mit ihm zusammengearbeitet, und es ist Sein Repertoire erstreckt sich von Mozart Neuseeland. Dennis O’Neill), Don Pasquale, La bohème, und bleibt das meistaufgezeichnete Orchester und der italienischen Oper des frühen Parry hat zahlreiche Werke für das Label Cavalleria rusticana und Pagliacci. der Welt. Seine Diskographie, darunter auch 19. Jahrhunderts bis zu Janácˇek, Britten und Opern für die Peter Moores Foundation/ zeitgenössischer Musik. In England dirigiert er Opera Rara, beläuft sich auf über tausend regelmäßig an der English National Opera und Aufnahmen. Der Rang des Philharmonia konzertiert mit dem Philharmonia Orchestra, Orchestra als “das führende Orchester 1996 machte er mit Così fan tutte sein Debüt Londons” ist auf seine Vitalität zurück- bei dem Glyndebourne Festival. zuführen, seinen einmalig warmen Klang und David Parry gastiert häufig in Spanien, sein Engagement für die Vergabe von wo er bereits mit den meisten Opern- Kompositionsaufträgen und die Aufführung kompanien und Sinfonieorchestern aufgetreten der Musik bedeutender Gegenwarts- ist. Die spanische Premiere von Peter Grimes komponisten wie dem verstorbenen Witold fand unter seiner Leitung in Madrid statt; Lutoslawski, Sir Harrison Birtwistle und James 1996 dirigierte er die erste spanische MacMillan, dem Gastkomponisten des Inszenierung von The Rake’s Progress Orchesters. (Strawinsky) und weihte zwei neue Konzertsäle mit der Neunten Sinfonie von Beethoven David Parry studierte bei Sergiu Celibidache sowie ein neues Opernhaus mit Carmen ein. und begann seine Laufbahn als Sir John In Italien leitete er Ricciardo e Zoraide bei Pritchards musikalischer Assistent. Er dem Rossini-Festival in Pesaro. Er tritt in debütierte mit dem English Music Theatre und Frankreich, Deutschland, Belgien, den wurde Kapellmeister an den Städtischen Niederlanden und Schweden auf, wo er eine Bühnen Dortmund sowie an Opera North in gefeierte Inszenierung von Brittens Leeds. Von 1983 bis 1987 fungierte er als A Midsummer Night’s Dream dirigierte. 32 33 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 34

fut donnée à chaque saison jusqu’en 1911 (à la pour le persuader de composer la musique. Charles Gounod: Faust vive contrariété de Bernard Shaw auquel elle Gounod, qui était occupé à jouer aux cartes inspirait de la répulsion) et chantée en italien, avec un abbé, hocha la tête sans dire quoi que qui était alors la langue véhiculaire opératique ce soit. A la fin, il consentit à écrire la Après la première (1859) de ce qui allait adroitement, bien que peut-être en Grande-Bretagne comme partout ailleurs. délicieuse partition figurant ici en appendice. devenir la partition la plus populaire de inconsciemment, le théâtre en chaire, adaptant Lors de la première londonienne à Her L’œuvre fut jouée à l’inauguration du Gounod, un vieil ami du compositeur, l’abbé son style religieux aux lois du théâtre. C’est Majesty’s Theatre, Sir Charles Santley chanta le Metropolitan Opera House de New York en Gay, fit cette observation: “Le monde s’est une façon de procéder qui a manifestement rôle de Valentin. Gounod, qui assistait à la 1883, et devint bientôt aussi populaire aux emparé de lui et en a chassé Jésus-Christ.” séduit le public, partout et à chaque fois que représentation, fit la connaissance du célèbre Etats-Unis qu’elle l’était partout ailleurs. C’est une remarque qui s’applique l’opéra a été représenté – donc très souvent. baryton de sorte que, lorsque la première Sir Thomas Beecham, qui était un des particulièrement bien à un compositeur qui D’abord présentée au Théêtre-Lyrique en représentation de l’opéra en anglais fut fixée principaux défenseurs de Faust, enregistra trouvait difficile de concilier les deux 1859, sous forme d’opéra comique (c’est à dire pour l’année suivante, Santley suggéra que le l’œuvre en anglais, en 1929, avec des chanteurs influences qui le guidaient: l’amour de Dieu et avec dialogue parlé), l’œuvre atteignait l’Opéra compositeur écrivît un air à son intention, en de la British National Opera Company sous la l’amour de la sensualité, chose qui se reflète dix années plus tard; elle y fut jouée avec le utilisant une mélodie figurant dans le Prélude. direction de Heddle Nash et Miriam Licette, dans ses compositions. Ses oratorios et ses récitatif que Gounod avait écrit pour une C’est ainsi que la célèbre cavatine pour baryton puis l’enregistra à nouveau vers la fin des autres œuvres sacrées sont maintenant dans représentation donnée à Strasbourg en 1860 – vit le jour. Enthousiasmé, le critique Henry années 1940, en France, dans la langue une large mesure oubliées, mais ses œuvres c’est d’ailleurs la forme sous laquelle on la Chorley écrivit: “Even bravest heart may swell” d’origine avec des chanteurs français. Bien pour la scène, tout au moins deux d’entre elles, présente généralement de nos jours. C’est aussi [“Duty bids me leave this place” sur cet qu’après cela l’œuvre baissât quelque peu dans Faust et Roméo et Juliette, survivent, continuant à l’Opéra qu’eut lieu sa 2000ème enregistrement]. Elle remporta un succès l’estime populaire, elle a rarement quitté le d’être représentées dans toutes les capitales représentation en 1944, et on avait atteint la immédiat et depuis lors est toujours restée un répertoire des compagnies britanniques, étant opératiques. Ses aspirations religieuses 2836ème à l’époque de la nouvelle mise en des ingrédients de base des récitals de baryton. régulièrement représentée à Covent Garden et commencèrent à être reléguées au second plan scène réalisée par Jorge Lavelli en 1975, en soi Lorsque l’œuvre atteignit l’Opéra, il lui au Sadler’s Wells (très récemment à l’English lorsque Gounod fit la connaissance de Pauline un hommage à la longévité et à la popularité fallut un ballet, une condition sine qua non à National Opera dans une mise en scène très Viardot, célèbre cantatrice, qui attira son de l’œuvre. On l’entendit pour la première fois Paris. Gounod, qui avait retrouvé ses applaudie de Ian Judge, avec John Tomlinson attention sur l’opéra. Un autre commentateur, en Italie à La Scala, en 1862. La plupart des aspirations religieuses, se montra peu enclin à en Méphistophélès). le peintre Delacroix affirma: “Un compositeur modifications et des coupures effectuées à cette le composer et suggéra que cette tâche soit Durant l’époque où Gounod était lauréat du écrit Faust et cela lui fait tout oublier d’Hadès.” occasion devinrent par la suite de tradition, y confiée à son élève Saint-Saëns. Comme ce Prix de Rome, de 1839 à 1842, son intérêt La bataille que se livrèrent le sacré et le profane compris l’élimination de la scène de la nuit de dernier le relata dans ses mémoires, il trouva pour la première partie de l’œuvre de Goethe dans l’âme de Gounod est habilement esquissée Walpurgis. cette commande embarrassante et se rendit fut éveillé lorsqu’il lut une traduction de la dans son opéra le plus célèbre. Il y transforma Introduite en Angleterre en 1863, l’œuvre y tambour battant chez Gounod à Saint-Cloud pièce, faite par Gérard de Nerval. Il tomba 34 35 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 36

immédiatement amoureux de la pièce et décida l’innocence trahie et finalement rachetée. La repentir, ainsi que la tentative de Faust vouée à opératique, et dont le point culminant fut de mettre cette “fabuleuse histoire” en scène de la prison et l’apothéose finale, qui ne l’échec de retrouver la jeunesse en signant un Guillaume Tell. Le style de Gounod était à musique. Les voyages qu’il fit au pays de figuraient pas dans l’œuvre de Carré, furent pacte avec le diable incarné. Ses librettistes lui l’époque aussi admiré que celui de Verdi et de Goethe, où les légendes anciennes abondaient, ajoutées, de même que la mort de Valentin. fournirent très exactement les situations dont il Wagner. En Angleterre, on le considérait eurent pour effet de renforcer sa Gounod acheva la composition de l’opéra en avait besoin. comme le véritable successeur de Mendelssohn. détermination. Il entendit ensuite 1858, et les répétitions commencèrent aussitôt A un âge précoce, Gounod avait été fasciné Verdi lui-même admirait Gounod, bien qu’il La damnation de Faust de Berlioz, qui l’émut au Théâtre-Lyrique dont le directeur était Léon par une œuvre portant sur le même sujet que regrettât, peut-être à juste titre, l’absence de profondément. Ceci, loin de mettre un frein à Carvalho. La femme de ce dernier, Marie Faust, le Don Giovanni de Mozart. Il déclara fibra drammatica dans sa musique. Ce fut sans son désir de mettre Gœthe en musique, ne fit Miolan Carvalho, devait incarner Marguerite, dans sa biographie que les premières notes de aucun doute le conformisme même de l’œuvre que le stimuler. En 1849, il tenta une première ce qui explique l’importance accordée au rôle l’ouverture, avec les majestueux accords qui amena à son acceptation rapide, ses formes fois de mettre la scène de l’église en musique. dans la partition. Il fallut reporter la première: solennels empruntés à la scène où apparaît le musicales étant celles qui étaient familières à Il fit ensuite la connaissance des écrivains le ténor chantant Faust, devenu aphone au Commandeur pour la dernière fois semblèrent tout amateur d’opéra de l’époque, en qui allaient devenir les auteurs du livret de cours de la répétition générale, devait être le faire pénétrer dans un monde nouveau. Il fut particulier celles des solos de Méphistophélès, Faust, Jules Barbier et Michel Carré. Carré était remplacé. Il fallut omettre la Scène de l’église glacé par une sensation de véritable terreur. des couplets, c’est à dire avec un refrain répété, l’auteur d’une pièce intitulée Faust et (pratique qui fut souvent de mise à un certain Mais lorsqu’il entendit le terrible roulement de et celle de la cavatine en trois parties de Faust, Marguerite, vue par Gounod en 1850, qui moment) du fait que le ministre de la culture tonnerre des gammes ascendantes et “Salut, demeure chaste et pure” (This pure fournit les bases du livret d’opéra. Barbier tenait à éviter de se brouiller avec le Vatican, à descendantes, sévère et implacable comme un abode of simple virtue) avec une section réduisit les dimensions de la pièce pour qu’elles une époque où l’unification de l’Italie était arrêt de mort, il fut saisi d’un tel frisson de centrale modulante. Les rythmes de marche conviennent exactement aux besoins de fortement dans l’air. La première reçut un peur que sa tête tomba sur l’épaule de sa mère qui envahissent certaines parties de la partition Gounod en éliminant ou regroupant les accueil favorable, notamment à cause de la et que, tremblant sous la double étreinte de la ne paraîtraient pas déplacés dans les œuvres de personnages et les événements, un travail qui prestation de la prima donna. beauté et de l’horreur, il ne put que murmurer: Meyerbeer. s’avère essentiel lorsqu’on désire adapter une L’élite a souvent critiqué cet opéra, le “Voilà vraiment de la musique!” Ainsi parla le Cependant, ces aspects de l’œuvre ne pièce au rythme plus lent de l’opéra. Parmi les qualifiant de parodie de Goethe parce qu’il ne futur compositeur de Faust. suffiraient pas à expliquer la popularité à la fois personnages surnaturels, seuls Méphistophélès pouvait rivaliser avec les défis philosophiques Gounod, lorsqu’il composa sa partition, fut immense et persistante de Faust. Ce qui et quelques démons restèrent. de l’original, condition que Berlioz et Boito fortement influencé par Meyerbeer, qui – ne l’explique c’est un don spécial à Gounod. C’est Siébel, brûlant d’un amour timide et semblaient plus près de remplir dans leurs l’oublions jamais – jouissait alors d’une le lyrisme que l’on trouve en particulier dans la vertueux pour Marguerite, est quasiment une drames musicaux faustiens. Gounod se montra popularité énorme en France. Gounod fut cavatine de Faust et dans le duo prolongé que création nouvelle. La psychologie complexe de (bien naturellement vu sa formation) plus aussi influencé par Halévy et Rossini, le chantent Marguerite et Faust dans le jardin à Faust se réduisit à une lutte entre le désir intéressé par l’aspect moral – la ruine de Rossini des œuvres françaises qui furent écrites l’acte III, duo qui constitue le cœur même de charnel et l’amour pur. Marguerite incarna Marguerite et sa rédemption finale par le pour la scène parisienne à la fin de sa carrière l’opéra avec sa voluptueuse mélodie, 36 37 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 38

merveilleusement tournée. On retrouve la Marguerite et du rôle qu’y joue Faust à la fin Argument demande à Siébel de veiller sur sa sœur en son même qualité dans la courte scène significative de l’acte III lorsqu’il revient se jeter dans les absence. au timbre gracieusement français, où les bras de la jeune fille, tandis que le rire Acte I Wagner, essayant d’égayer l’atmosphère, se amants se rencontrent pour la première fois, et sardonique de Méphistophélès monte des Faust, un philosophe d’un âge avancé, est assis met à chanter. Il est interrompu par le solo de Valentin, mentionné au préalable, coulisses, sans oublier la scène de la mort de dans son cabinet de travail. Il désespère de Méphistophélès qui chante la Chanson du qui semble caractériser de façon idéale ce jeune Valentin et le trio final qui touchent à la résoudre l’énigme de l’univers et, désabusé, veau d’or et lit les lignes de la main de ceux qui homme si droit. Vient aussi l’excitation pleine matière même de l’opéra français de la fin du décide de s’empoisonner. Alors qu’il s’apprête à l’entourent; il dit à Siébel que toute fleur qu’il d’anticipation de Marguerite telle que la révèle romantisme. boire le poison, il entend les voix des femmes touchera mourra. Repoussant le vin médiocre l’air des bijoux contrastant avec la chanson Il ne faudrait pas non plus négliger la et des ouvriers agricoles se rendant au travail. que lui offre Wagner, Méphistophélès fait élégiaque du roi de Thulé, empreinte d’un maîtrise de l’orchestration qu’avait acquise Maudissant la vie et la vieillesse, il appelle le couler du vin de l’enseigne de l’auberge et boit léger parfum d’antiquité. Gounod. Elle semble des plus évidentes dans diable pour qu’il lui vienne en aide. à la santé de Marguerite. Ce geste provoque la La valse de la kermesse que l’on rencontre si l’interaction des voix du quatuor de l’acte III, Méphistophélès apparaît et lui offre richesses et colère de Valentin. Ils dégainent tous les deux. souvent hors de son contexte, opposant et d’ailleurs dans le chœur de soldats: tout puissance, mais ce que Faust désire Méphistophélès trace un cercle autour de lui délicatement chœur et orchestre est banal qu’il ait pu devenir à force d’être utilisé ardemment, c’est la jeunesse, chose que avec la pointe de son épée et, lorsque Valentin mémorable. Les deux solos de Méphistophélès hors de contexte, il est saisissant lorsqu’il Méphistophélès ne lui accordera que s’il signe attaque et que son épée pénètre à l’intérieur du bien que n’ayant peut-être pas la subtilité de est chanté à sa place, au début de l’acte IV. la reddition de son âme. Comme Faust hésite, cercle, la lame se brise en éclats. Le jeune leurs équivalents dans la mise en musique du Si dénigré soit-il, Faust est un drame musical il a une vision de la belle Marguerite assise à homme se rend compte de l’identité de son chef d’œuvre de Goethe écrite par Berlioz, sont réussi. C’est aussi une des œuvres les plus son rouet. Il signe le document, boit au gobelet adversaire. Valentin et ses amis marchent en probablement plus remarquables au niveau de élégantes à chanter – depuis sa première mise que lui présente Méphistophélès, et se direction de Méphistophélès, brandissant la la mélodie: il semblerait que le plus bel air ait en scène, cette musique de Gounod a eu transforme instantanément en jeune homme. garde en forme de croix de leurs épées. été attribué au diable avec sa sérénade l’honneur d’être interprétée par quasiment Méphistophélès, recroquevillé de peur, s’en va. insinuante. Le jeune Siébel est joliment campé toutes les stars de l’opéra. A une époque où l’on Acte II La foule s’assemble pour danser. Faust et avec son petit solo ingénu. La Scène de l’église, prise tant la rare présence de mélodies Des gens se sont rassemblés devant une Méphistophélès entrent et voient Marguerite. au cours de laquelle l’isolement de Marguerite chantables dans une œuvre nouvelle, le talent auberge située près d’une des portes de la ville. Faust lui offre le bras, mais elle refuse poliment. se trouve dépeint de façon frappante sur le de Gounod répand sa lumière, tel un phare Ce sont des étudiants, des hommes de la ville, Le ravissement de Faust en est encore accru. fond impersonnel créé par un orgue archaïque dans la nuit. C’est à nos risques et périls que des soldats et des femmes jeunes et vieilles qui et un chœur qui chante, évoque d’autres nous tournons en dérision ce talent – et chantent joyeusement. Le frère de Marguerite, Acte III trouvailles, moins inspirées du point de vue d’ailleurs les sentiments d’un âge antérieur. Valentin, et son jeune ami Siébel se joignent à Siébel cueille des fleurs pour Marguerite, et, musical, mais efficaces au niveau théâtral. Il en la foule. Valentin auquel Marguerite a donné comme prédit, elles se flétrissent et meurent. est ainsi de l’hymne au soir que chante © 1999 Alan Blyth un médaillon avant qu’il ne parte à la guerre, Le recours à l’eau bénite met fin à cette 38 39 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 40

malédiction et il laisse un bouquet à la porte de maison pour demander satisfaction à celui qui 1989. Parmi les rôles qu’il a incarnés figurent le Lammermoor)), à l’Opéra national de Paris Marguerite. Méphistophélès dépose un coffret a séduit sa sœur. Valentin et Faust se battent et, Duc (Rigoletto), Fenton (Falstaff ) au Japon et (Raimondo), à Vienne (Giorgio), à San Francisco rempli de bijoux à l’intention de la jeune fille. par l’action de Méphistophélès, Valentin au Festival d’Edimbourg, Rodolphe (Giorgio, Raimondo et Basilio (Le barbier de Pendant ce temps, Marguerite chante une s’effondre mortellement blessé. Dans son (La bohème), Alfredo (La traviata) et le rôle- Séville)), à Amsterdam (Figaro) et au Royal vieille ballade. Lorsqu’elle trouve les bijoux et dernier souffle, Valentin maudit Marguerite. titre de Faust pour le Welsh National Opera, Opera (Lord Sydney (Il viaggio a Rheims)). s’en pare, c’est une femme bien différente Alfredo et Nemorino (L’elisir d’amore) pour le Sa carrière à succès de concertiste l’emmène qu’elle voit dans son miroir. Sa voisine d’âge Acte V Scottish Opera, Rodolphe et Dimitri (Boris dans le monde entier. Il chante sous la mûr, Martha, remarque qu’ils sont sûrement le La nuit de Walpurgis: un chœur de feux follets Godounov) pour Opera North, et Cassio direction de chefs tels que Carlo Maria Giulini, don d’un admirateur. se fait entendre tandis que Faust et (Otello), Tybalt (Roméo et Juliette) et Alfredo Zubin Mehta, Riccardo Muti, Myung-Whun Faust et Méphistophélès entrent, Faust Méphistophélès apparaissent. Faust, qui a une pour le Royal Opera House. Il s’est aussi Chung, Kurt Masur, Valery Gergiev et John faisant la cour à Marguerite et Méphistophélès vision de Marguerite, demande à être emmené produit à l’étranger avec l’Opéra de Seattle, Eliot Gardiner, en compagnie des orchestres les contant fleurette à Martha. Marguerite, qui auprès d’elle l’Opéra de Monte-Carlo, l’Opéra de Houston, plus prestigieux du monde. Parmi les commence à faiblir, se dégage pourtant de Marguerite est emprisonnée pour avoir tué l’Opéra de Cincinnati et le Metropolitan de enregistrements à son actif, il faut citer Elijah l’étreinte de Faust et retourne en courant chez son enfant. Faust et Méphistophélès viennent New York. qui a remporté le Gramophone Award, le elle. Méphistophélès rassemble alors tous les la délivrer. Elle semble reconnaître Faust et se Parmi les enregistrements à son actif, il faut Requiem de Verdi, Saul et Agrippina de parfums enivrants des fleurs de la nuit, et remémore la nuit où il l’a séduite pour la citer Tybalt (Roméo et Juliette sous la direction Haendel, et chez Chandos – Caractacus, The Marguerite ouvre sa fenêtre pour confesser à la première fois. Faust l’incite à partir avec lui, de Leonard Slatkin), Arturo (Lucia sous la Rape of Lucretia et La bohème (réalisée en nuit l’amour qu’elle ressent pour Faust. Ce mais elle prie Dieu de la pardonner. Lorsqu’elle direction de sir Charles Mackerras) et Don association avec la Peter Moores Foundation). dernier émerge de l’ombre et elle le fait rentrer meurt, Méphistophélès la maudit, mais des Caesar (Maritana de Wallace). A l’avenir, il chez elle. voix angéliques proclament qu’elle est sauvée. projette de retourner au Metropolitan de New Après avoir fait ses études au Royal Northern York, au Welsh National Opera (entre autres College of Music et au National Opera Studio, Acte IV Appendice pour incarner le rôle-titre de Don Carlos lors de Mary Plazas décroche en 1991 la bourse Marguerite a été abandonnée par Faust dont La musique du ballet, composée pour l’Opéra l’inauguration du nouvel opéra de Cardiff en remise à la mémoire de Kathleen Ferrier. Elle elle attend l’enfant. Elle s’en va prier. Les de Paris, se trouve incluse en appendice. 2002) et à Seattle, mais il doit aussi faire ses fait ses débuts à l’opéra en chantant la Voix soldats reviennent avec Valentin. Siébel essaie débuts à la Deutsche Oper de Berlin. céleste (Don Carlos) avec l’English National de le dissuader d’entrer dans la maison, mais le Traduction: Marianne Fernée Opera dont elle sera une des principales jeune homme écarte son ami et rentre. Reconnu sur le plan international comme un chanteuses de 1995 à 1998. Parmi les rôles Méphistophélès chante de la part de Faust Né à Liverpool, Paul Charles Clarke étudie au des plus grands chanteurs de Grande-Bretagne, qu’elle a incarnés figurent le rôle-titre de une sérénade moqueuse qui s’adresse à Royal College of Music avec Neil Mackie et Alastair Miles a chanté au Metropolitan La petite renarde rusée, Micaela, Mimì, Leïla, Marguerite. Valentin sort précipitamment de la remporte la Kathleen Ferrier Competition de (Giorgio (I puritani) et Raimondo (Lucia di Nanetta, Adina et Anne Trulove. Elle a aussi 40 41 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 42

chanté avec le Royal Opera, Opera North, le Diana Montague a fait ses études au Royal Fiorello (Le barbier de Séville) pour l’English Glyndebourne. Sarah Walker a été nommée au Glyndebourne Festival Opera, l’Opéra de Northern College of Music. Depuis ses débuts Touring Opera, et Polyphème (Acis and grade honorifique de CBE en 1991 dans la Garsington et au Metropolitan de New York. en Zerline avec le Glyndebourne Touring Galatea) et Leporello pour Opera Atelier, à Queen’s Honours List publiée au moment de Parmi ses apparitions à la télévision, figurent Opera, elle s’est produite dans les plus grands Toronto. Il s’est aussi produit au Festival de l’anniversaire de la reine. Le nozze di Figaro avec Opera Factory et une opéras et les plus prestigieuses salles de concert Covent Garden, avec Broomhill Opera, Opera interprétation de la Première sorcière (Dido du monde, dont le Royal Opera de Covent italiana, le British Youth Opera et Pavillion La carrière de chanteur de Geoffrey Mitchell a and Aeneas) existant aussi chez Chandos. Parmi Garden, le Metropolitan de New York, la Opera. Au nombre de ses enregistrements, couvert un répertoire d’une remarquable sa discographie, il faut citer Emma d’Antiochia Monnaie de Bruxelles, l’Opéra Paris-Bastille, le figurent Bosun (Billy Budd ) avec le Hallé étendue allant de la musique ancienne à la de Mercadante et Maria regina d’Inghilterra de Teatro Colon de Buenos Aires et les festivals de Orchestra sous la baguette de Kent Nagano, musique contemporaine. Elle prit son essor à la Pacini chez Opera Rara, sans oublier L’enfant et Bayreuth et de Salzbourg. l’Abbé (Curlew River) et Rambaldo (Maria di suite de plusieurs invitations à diriger que lui les sortilèges. Elle a aussi donné des récitals et Son répertoire comprend les grands rôles de Rudenz) pour Opera Rara. offrit la BBC, et à une collaboration plus des concerts dans le monde entier, chantant mezzo-soprano trouvés chez Mozart, Gluck, étroite avec ses propres chanteurs. C’est ainsi avec des orchestres internationaux. Strauss, Rossini, Bellini et Berlioz. A l’occasion Sarah Walker est une des artistes les plus qu’il fut amené à fonder le Geoffrey Mitchell de ses fréquents engagements de concert, elle a distinguées de Grande-Bretagne. Elle a chanté Choir avec lequel il a enregistré quinze opéras Parmi les rôles incarnés par Garry Magee à chanté à maintes reprises sous la direction des avec les plus grands orchestres du monde et a pour Opera Rara. Jouissant d’une réputation l’opéra, figurent Guglielmo (Così fan tutte) et le plus grands chefs. Parmi les nombreux participé aux plus grands festivals de Grande- grandissante, ils ont d’autres projets avec la Prince Afron (Le coq d’or) pour le Royal Opera, enregistrements à son actif, il faut citer Bretagne et d’Europe. Elle a donné une BBC et des maisons de disques internationales. Eddy (Greek) avec le London Sinfonietta, I Capuleti e I Montecchi, Norma, Lucia di prestation soliste mémorable à la dernière Malatesta (Don Pasquale) à la Monnaie, Lammermoor, Iphigénie en Tauride, Il crociato in soirée des Promenade-Concerts de Londres et a Quand il créa Philharmonia Orchestra, Walter Silvano (Un ballo in maschera) pour l’Opéra de Egitto (chez Opera Rara) et Cavalleria chanté sous la direction de Bernstein dans la Legge réalisa sa grande ambition de former un Monte-Carlo, Eletski (La dame de pique) pour rusticana, plus un disque consacré aux Grands Neuvième symphonie de Beethoven pour orchestre de niveau international composé de l’Opéra des Flandres, le Steward (Flight) pour airs d’opéra (enregistré pour Chandos/la Peter célébrer la chute du Mur de Berlin. C’est une musiciens triés sur le volet. Le Philharmonia le Glyndebourne Festival Opera, Mountjoy Moores Foundation). chanteuse de récital très applaudie qui a une Orchestra donna son premier concert sous la (Gloriana) pour Opera North, et le rôle-titre imposante discographie à son actif. direction de sir Thomas Beecham en octobre d’Eugène Onéguine pour le British Youth Matthew Hargreaves a étudié à la Guildhall Sur les scènes lyriques, elle a chanté au Royal 1945, et s’imposa rapidement comme l’un des Opera. Parmi ses prestations de concert, il faut School of Music and Drama avec Rudolph Opera de Covent Garden, à l’English National véritables grands orchestres du monde. De citer la cantate Printemps de Rachmaninov Piernay, et a remporté le Prix Decca dans le Opera, à Vienne, Genève, Monte-Carlo, Paris, nombreux chefs d’orchestre illustres ont été avec le City of Birmingham Symphony cadre de la Kathleen Ferrier Award Barcelone, Madrid, Bruxelles, Hambourg, San étroitement associés avec cet orchestre qui Orchestra et avec l’Orchestre de l’Opéra- Competition de 1997. Il a incarné Figaro, Francisco, Chicago, la Scala de Milan, le demeure aujourd’hui le plus enregistré au comique de Berlin. Dandini (La cenerentola), le Bailli (Werther), Metropolitan de New York et au Festival de monde. En effet, sa discographie compte plus 42 43 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 44

de mille enregistrements incluant des opéras Il se rend fréquemment en Espagne où il pour la Peter Moores Foundation, Opera Rara. s’est produit avec la plupart des troupes d’opéra Charles Gounod: Faust La position de “premier orchestre de Londres” et des orchestres symphoniques. Il a donné la du Philharmonia Orchestra résulte de sa première espagnole de Peter Grimes à Madrid vitalité, de sa sonorité chaleureuse unique et de et, en 1996, a dirigé la première mise en scène Dopo la prima del 1859 di quella che divenne ovviamente è piaciuta al pubblico ogni volta ed sa volonté de commander et de jouer des espagnole de The Rake’s Progress. Il a aussi l’opera più popolare di Gounod l’abate Gay, ovunque l’opera viene rappresentata, ovverosia œuvres de compositeurs contemporains inauguré deux nouvelles salles de concert avec vecchio amico del compositore, osservò: “Il molto spesso. importants tels que le regretté Witold une interprétation de la Neuvième symphonie mondo gli è entrato in corpo ed ha scacciato Presentata dapprima nel 1859 al Théâtre Lutoslawski, Sir Harrison Birtwistle, et le de Beethoven et un nouvel opéra avec Carmen. Gesù Cristo.” Questo commento ben si adatta Lyrique come opéra-comique cioè con dialogo, compositeur associé de l’orchestre, James Il s’est également produit en Italie où il a dirigé ad un compositore che trovò difficile conciliare giunse all’Opéra dieci anni dopo e fu eseguita MacMillan. Ricciardo et Zoraide au Festival d’opéra de le sue stelle gemelle: l’amore di Dio e l’amore con il recitativo che Gounod aveva scritto per Pesaro (consacré à Rossini), mais il s’est aussi della sensualità, il che si rispecchia nelle sue un’esecuzione a Strasburgo nel 1860: è in tale David Parry étudia avec Sergiu Celibidache et rendu en France, en Allemagne, en Belgique, composizioni. I suoi oratori ed altri pezzi forma che viene oggi generalmente presentata. commença sa carrière comme assistant de sir en Hollande, et en Suède où il a dirigé une liturgici sono adesso in gran parte dimenticati; Nel 1944 ebbe a Strasburgo la sua bimillesima John Pritchard. Il fit ses débuts avec l’English mise en scène très applaudie du Midsummer i suoi lavori per il teatro, o almeno due di essi, esecuzione; nel 1975, al tempo del nuovo Music Theatre et devint plus tard chef Night’s Dream de Britten. Faust e Roméo et Juliette, sopravvivono, allestimento di Jorge Lavelli, il numero delle appointé du Städtische Bühnen Dortmund et Hors d’Europe, David Parry s’est produit au rappresentati nelle capitali di tutto il mondo. sue esecuzioni raggiunse il 2836: chiaro tributo d’Opera North. Directeur musical d’Opera 80 Festival international de Hong Kong, a dirigé Le aspirazioni religiose divennero secondarie alla sua longevità e popolarità. In Italia venne de 1983 à 1987, il est depuis 1992 le directeur l’UNAM Symphony Orchestra à Mexico, a fait quando Gounod incontrò Pauline Viardot, la presentata per la prima volta alla Scala nel musical fondateur du festival d’opéra une tournée consacrée à Carmen au Japon, et, celebre cantante che aveva attirato la sua 1862. Molte delle modifiche e dei tagli contemporain Almeida Opera. en 1996, a dirigé une nouvelle mise en scène de attenzione all’opera lirica, Un altro commento apportati per quell’occasione sono divenuti da Il poursuit une carrière très active à l’opéra Katya Kabanova au Festival de Nouvelle-Zélande. ci viene dal pittore Delacroix, il quale sostenne: allora tradizionali, compresa l’eliminazione et dans les salles de concert. Son répertoire va Il a réalisé un grand nombre d’enregistre- “Un compositore scrive Faust e ciò gli fa della scena della Walpurgisnacht. de Mozart et d el’opéra italien du début du ments pour le label Opera Rara, le plus récent dimenticare tutto sugli Inferi.” La battaglia L’opera fu introdotta in Inghilterra nel XIXe siècle à Janácˇek, Britten et à la musique étant Rosmonda d’Inghilterra de Donizetti, qui nell’animo di Gounod fra il sacro e il profano 1863, eseguita poi in ogni stagione fino al contemporaine. En Angleterre, il a fait des a remporté le prix Cecilia en Belgique, et c’est si profila in maniera pertinente nella sua opera 1911 (con grande scorno di Bernard Shaw che apparitions régulières à l’English National chez Chandos qu’il a dirigé son enregistre- più famosa. Abilmente – magari nel la svillaneggiò) in italiano, allora la lingua Opera et lors de concerts avec le Philharmonia. ment primé de Tosca, trois disques d’aries subcosciente – Gounod tramuta il teatro in franca dell’opera in Inghilterra come altrove. En 1997, il a fait ses débuts au Festival de operatiques, Don Pasquale, La bohème, pulpito, adattando il suo stile liturgico alle Per la première londinese allo Her Majesty’s Glyndebourne avec Così fan tutte. Cavalleria rusticana et Pagliacci. esigenze della scena, facendolo in maniera che Theatre la parte di Valentin fu affidata a 44 45 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 46

Sir Charles Santley. Gounod assistette alla Sir Thomas Beecham fu uno dei principali Incontrò poi gli scrittori che sarebbero stati i La Scena nella Chiesa dovette essere omessa rappresentatione incontrando il celebre fautori del Faust che incise nel 1929 in inglese librettisti del Faust: Jules Barbier e Michel (pratica che, in un certo tempo, fu spesso baritono; così quando la prima esecuzione con interpretti tratti dalla British National Carré, quest’ultimo autore di un dramma, seguita) perché il Ministro della Cultura era dell’opera in inglese fu messa in programma Opera Company, capitanati da Heddle Nash e Faust et Marguerite, che Gounod vide nel ansioso di evitare una lite con il Vaticano in un per l’anno successivo Santley suggerì al Miriam Licette, e nuovamente nei tardi 1850. Fu questo a fornire la base per il libretto periodo in cui l’unificazione dell’Italia era compositore di scrivere una romanza per lui anni 40 in Francia nella lingua originale e con dell’opera. Barbier ridusse il dramma alle giuste energicamente ventilata. La première fu accolta utilizzando un tema tratto dal Preludio. Fu così interpreti francesi. Sebbene l’opera abbia proporzioni per adattarlo a Gounod. Eliminò o favorevolmrente, sopratutto per che nacque la famosa cavatina del baritono. Il sofferto in seguito un certo declino nella stima compresse personaggi e azione, operazione l’interpretazione della prima donna. critico Henry Chorley scrisse questa frase: popolare è stata raramente esclusa dal essenziale quando un dramma viene messo a Individui di gusti raffinati hanno spesso “Even bravest heart may swell” [“Duty bids me repertorio delle compagnie britanniche essendo servizio del rallentato corso di un’opera. criticato l’opera giudicandola un pervertimento leave this place” su questo disco]. Il successo fu apparsa regolarmente sia al Covent Garden sia Soltanto Mefistofele ed alcuni demoni di Goethe perche non corrisponde alle indagini immediato e la romanza è rimasta di al Sadler’s Wells (più recentemente alla English mantengono il loro carattere soprannaturale. filosofiche che Berlioz e Boito hanno affrontato prammatica nei recitals del baritono da quel National Opera nell’assai lodato allestimento Siébel è virtualmente un’innovazione, più da vicino nei loro melodrammi faustiani. giorno. di Ian Judge con John Tomlinson nel ruolo di timidamente e virtuosamente innamorato di Comprensibilmente – dato i suoi precedenti – Quando l’opera giunse all’Opéra ci voleva Mefistofele). Marguerite. La complessa psicologia di Faust è Gounod si sentiva più coinvolto nell’aspetto un balletto, sine qua non a Parigi. Gounod non Durante la sua detenzione del Prix de Rome, ridotta ad una lotta fra concupiscenza e puro morale: nella rovina di Marguerite, con la sua era incline a scriverlo essendo ritornato ai suoi dal 1839 al 1842, l’interesse di Gounod alla amore. Marguerite è semplice innocenza redenzione finale attraverso il pentimento; umori religiosi e suggerì che il compito venisse parte prima del lavoro di Goethe fu suscitato tradita ed alfine riscattata. Furono aggiunte la nell’abortivo tentativo di Faust di recuperare la affidato al suo allievo Saint-Saëns. Come dalla sua lettura della traduzione di Gérard de Scena nella Prigione e l’apoteosi finale, che non sua giovinezza stringendo un patto con il quest’ultimo scrisse nelle sue memorie, la Nerval del dramma. Immediatamente s’invaghì sono presenti nel dramma di Carré, e così pure Diavolo incarnato. I suoi librettisti gli commissione mise in imbarazzo Saint-Saëns del dramma, decidendo di mettere in musica la morte di Valentin. fornirono proprio le situazioni che gli che si affrettò alla casa di Gounod a St. Cloud questa “storia favolosa”. I suoi viaggi nel paese Gounod finì di comporre l’opera nel 1858. occorrevano. per persuaderlo a comporre la musica. di Goethe, ricco di leggende, valsero a le prove al Théâtre Lyrique, di cui Léon In gioventù Gounod era stato affascinato da Impegnato a giocare a carte con un abate rafforzare la sua risoluzione. Ascoltò poi Carvalho era direttore, seguirono un lavoro che affronta le stesse questioni del Gounod fece cenno d’assenso ma non disse La damnation de Faust di Berlioz, che lo colpì immediatamente. Alla moglie di Carvalho, Faust : il Don Giovanni di Mozart. Nella sua nulla. Alla fine acconsentì a scrivere questo profondamente. Peraltro la sua determinazione Marie Miolan, fu affidata la parte di autobiografia dichiarò che: delizioso pezzo qui incluso come appendice. di musicare Goethe non ne venne inibita; fu, al Marguerite: da ciò la sua prominenza nella Le prime note dell’ouverture, con i solenni, l’opera, che inaugurò il Metropolitan a New contrario, uno stimolo. Nel 1849 fece un partitura. La prima dovette essere rimandata maestosi accordi tratti dalla scena finale del York nel 1883, presto divenne tanto popolare primo tentativo di mettere in musica la scena perche il tenore che cantava Faust perse la voce Commendatore, parvero sollevarmi in un mondo negli Stati Uniti quanto altrove. nella chiesa. alla prova generale e fu necessario rimpiazzarlo. nuovo. Mi sentii raggelare in una sensazione di 46 47 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 48

reale terrore. Ma quando ho sentito quel demeure chaste et pure” (This pure abode of diavolo sembra avere davvero i toni più l’araba fenice il dono di Gounod in questo tremendo, tuonante rotolio di scale ascendenti e simple virtue), con una sezione centrale seducenti in questa insinuante Serenata. Il campo splende come un faro. Si derida pure discendenti, severo ed implacabile come una modulante. I ritmi di marcia che pervadono giovane Siébel è ben ritratto nella sua piccola, quel dono, e quei sentimenti di un tempo sentenza di morte, sono stato afferrato da un tale parti della musica non sarebbero fuori posto ingenua romanza. La Scena nella Chiesa, in cui passato, a nostro rischio e pericolo. raccapricciante terrore che ho lasciato cadere la nelle opere di Meyerbeer. l’isolamento di Marguerite è graficamente testa sulla spalla di mia madre e, tremando nel Eppure questi suoi aspetti non sarebbero illustrato su uno sfondo impersonale di organo © 1999 Alan Blyth duplice abbraccio di bellezza e di orrore, ho sufficienti a giustificare l’immensa e costante arcaico e di coro salmodiante, evoca altri potuto solo mormorare: “questa è autentica popolarità del Faust. La spiegazione sta nel pensieri, non tanto ispirati musicalmente ma di La trama musica, davvero!” dono che è tipico di Gounod: il lirismo, che si sicuro effetto drammatico. Altrettanto dicasi Così parlò il futuro compositore di Faust. trova in modo specifico nella cavatina di Faust e dell’inno alla sera di Marguerite e della parte Atto I Gounod compose la sua musica sotto nell’esteso duetto del Giardino di Marguerite e che in esso ha Faust alla fine dell’Atto III, in Faust, un anziano filosofo, è seduto nel suo l’influenza di Meyerbeer che – non dobbiamo Faust nell’Atto III, cuore stesso dell’opera, con cui l’eroe fa ritorno alle sue braccia, mentre studio. Dispera di risolvere l’enigma mai dimenticarlo – era allora enormemente la sua melodia sensuale e flessuosa. Altrettanto Mefistofele sghignazza sardonicamente fuori dell’universo e, disilluso, decide di avvelenarsi. popolare in Francia. Fu pure influenzato da si può dire della breve ma significativa scena del scena; ne si dimentichi la scena della morte di Mentre è sul punto di bere il veleno sente voci Halévy e dal Rossini dei pezzi francesi scritti primo incontro degli amanti, dal timbro Valentin e il trio finale, quintessenza dell’opera di donne e di braccianti che si avviano al lavoro. per Parigi al termine della sua carriera leggiadramente gallico, e della già menzionata tardo – romantica francese. Maledice la vita e la vecchiaia, invocando il d’operista che toccò l’apice nel Guillaume Tell. romanza di Valentin, che sembra fatta apposta Si tenga poi conto della padronanza della demonio affinchè lo aiuti. Mefistofele appare e Lo stile di Gounod a quel tempo era ammirato per caratterizzare questo onesto personaggio. strumentazione che Gounod possiede e che gli offre ricchezze e potere ma ciò che Faust quanto quello di Verdi o Wagner. In Inghilterra C’è poi la speranzosa eccitazione di Marguerite particolarmente emerge nell’interazione con le brama è la giovinezza, che Mefistofele gli era visto come il vero successore di che si rivela nella sua Romanza dei Gioielli, e voci nel quartetto dell’Atto III, nonché del concederà solo se Faust gli cederà la sua anima. Mendelssohn. Lo stesso Verdi ammirava che è in contrasto con la lievemente arcaica ed Coro dei Soldati, per quanto volgarizzato sia Quando Faust esita gli viene mostrata una Gounod anche se – forse giustamente – sentiva elegiaca Romanza del Re di Tule. stato nel suo uso fuori del contesto, ma che è visione della seducente Marguerite seduta nella sua musica la mancanza di fibra Il valzer della kermesse, incontrato così altamente efficace al suo posto all’inizio all’arcolaio. Faust firma il patto, beve dal drammatica. La convenzionalità stessa spesso fuori del contesto, che delicatamente dell’Atto IV. Per quanto lo si voglia denigrare boccale che Mefistofele gli offre e dell’opera indubbiamente la rese rapidamente mette a confronto coro e orchesta, è Faust, come melodramma, funziona. È inoltre immediatamente si trasforma in un accettata, gli schemi musicali essendo quelli memorabile. I due pezzi a solo di Mefistofele una delle opere più grate alla voce e la musica giovanotto. che erano familiari a qualsiasi amante possono non avere la sottigliezza della loro di Gounod è stata favorita da praticamente dell’opera del tempo, particolarmente i pezzi controparte nella versione di Berlioz del tutte le stelle della lirica sin dalla sua prima Atto II solistici di Mefistofele, distici, cioè con verso capolavoro goethiamo, ma sono probabilmente rappresentazione. In un’epoca in cui la C’è un affollamento fuori di una taverna ad ripetuto, e la cavatina ternaria di Faust, “Salut, più considerevoli in termini melodici: il melodia cantabile nella nuova musica è come una delle porte della città. Studenti, cittadini, 48 49 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 50

soldati e donne, giovani e vecchi, sono radunati Atto III soddisfazione dal seduttore di sua sorella. (Rigoletto), Fenton (Falstaff ) in Giappone e al e cantano allegramente. Il fratello di Siébel coglie dei fiori per Marguerite e, come Valentin e Faust si battono e – grazie Festival di Edimburgo, Rodolfo (La bohème), Marguerite, Valentin, e il suo giovane amico, profetizzato, questi appassiscono e muoiono. all’intervento di Mefistofele – Valentin cade Alfredo (La traviata) e la parte del protagonista Siébel, si uniscono alla comitiva. Valentin L’acqua santa scioglie il maleficio e Siébel le mortalmente ferito. Sul punto di morte nel Faust per la Welsh National Opera; di ha ricevuto un medaglione da Marguerite lascia un mazzo di fiori. Mefistofele lascia uno Valentin maledice Marguerite. nuovo Alfredo e Nemorino (L’elisir d’amore) prima di partire per il fronte e chiede a scrigno di gioielli per Marguerite. Frattanto ella per la Scottish Opera; ancora Rodolfo e Dmitri Siébel di vegliare su Marguerite mentre egli è canta una vecchia ballata e quando trova i Atto V (Boris Godunov) per Opera North; Cassio alla guerra. gioielli e l’indossa scorge nello specchio una Walpurgisnacht. Si sente un coro di spiriti (Otello), Tybalt (Roméo et Juliette) e Alfredo per Wagner cerca di rallegrare la compagnia donna diversa. La sua anziana vicina, Marta, mentre appaiono Faust e Mefistofele. A Faust la Royal Opera House. All’estero ha mettendosi a cantare. Viene interrotto da commenta che devono essere un regalo di un viene mostrata una visione di Marguerite ed partecipato alle stagioni dell’opera di Seattle, Mefistofele che canta la Canzone del ammiratore. egli esige di essere condotto da lei. Montecarlo e Houston Grand Opera, vitello d’oro e che legge la mano a quelli Entrano Faust e Mefistofele. Faust corteggia Marguerite è in prigione per aver ucciso il Cinicinnati Opera e il Metropolitan di New che gli stanno intorno. Ricusando il vino Marguerite e Mefistofele amoreggia con Marta. suo bambino e Faust e Mefistofele vanno a York. scadente offertogli da Wagner fa sgorgare Marguerite comincia a cedere ma si stacca salvarla. Ella sembra riconoscere Faust e ricorda La sua discografia include Tybalt (Roméo et del vino dall’insegna della taverna e fa un dall’abbraccio di Faust e corre verso casa. la notte in cui fu sedotta da lui. Faust la esorta Juliette), diretta da Leonard Slatkin, Arturo brindisi a Marguerite. Ciò manda in furia Mefistofele fa sprigionare tutti gli effluvi a fuggire con lui ma Marguerite chiede (Lucia di Lammermoor), diretta da Sir Charles Valentin e ambedue sfoderano la spada. inebrianti dai fiori notturni, e Marguerite apre perdono a Dio. Mentre ella muore Mefistofele Mackerras, e Don Caesar (Maritana di Con la punta della spada Mefistofele la finestra per confessare alla notte il suo amore la maledice ma voci angeliche proclamano che Wallace). I suoi programmi futuri traccia un circolo intorno a sé e quando per Faust. Questi emerge dall’ombra ed è da lei Marguerite è salva. comprendono ulteriori impegni con il la spada di Valentin lo penetra la lama si introdotto nella casa. Metropolitan di New York, la Welsh National spezza. Accorgendosi dell’indentità del Appendice Opera (fra i quali la parte del protagonista nel suo avversario Valentin e i suoi amici si Atto IV La musica del balletto fu composta per l’Opéra Don Carlo che inaugurerà il nuovo teatro avanzano verso Mefistofele puntando Marguerite è stata abbandonata da Faust ed è a Parigi ed è qui inclusa come appendice. dell’opera di Cardiff nel 2002) e a Seattle, oltre verso di lui le impugnature delle loro spade incinta di lui. Va a pregare. I soldati ritornano al suo debutto con la Deutsche Oper di a forma di croce. Mefistofele si rannicchia e con Valentin e Siébel cerca di persuaderlo a Traduzione: Marcella Barzetti Berlino. indietreggia. non entrare in casa, ma Valentin lo respinge ed La folla si raduna per ballare. Faust e entra. Paul Charles Clarke è nato a Liverpool e ha Alastair Miles, riconosciuto in campo Mefistofele entrano e scorgono Marguerite. Mefistofele canta a Marguerite una beffarda studiato al Royal College of Music con Neil internazionale come uno dei più insigni Faust le offre il braccio ma ella gentilmente lo serenata per conto di Faust. Valentin si Mackie; nel 1989 ha vinto il Premio Kathleen interpreti britannici, ha cantato al rifiuta. Faust è più che mai affascinato. precipita fuori della casa e pretende Ferrier. I suoi ruoli hanno incluso: il Duca Metropolitan (Giorgio, I puritani), Raimondo 50 51 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 52

(Lucia di Lammermoor), all’Opéra national de Adina e Anne Trulove; ha cantato inoltre per la Diana Montague ha studiato al Royal Leporello per l’Opera Atelier di Toronto. E’ Paris (Raimondo), a Vienna (Giorgio), a San Royal Opera, Opera North, Glyndebourne Northern College of Music. Dal suo debutto apparso inoltre al Festival del Covent Garden, Francisco (Giorgio, Raimondo, Basilio (Il Festival Opera, Garsington Opera e al nalla parte di Zerlina per la Glyndebourne con la Broomhill Opera, Opera Italiana, barbiere di Siviglia), ad Amsterdam (Figaro) e Metropolitan di New York. Touring Opera è apparsa nei principali teatri British Youth Opera. I suoi dischi includono alla Royal Opera House (Lord Sydney, In televisione è apparsa ne Le nozze di lirici e auditori di tutto il mondo, fra i quali la Billy Budd (il Nostromo) con la Halle Il viaggio a Rheims). Figaro, con Opera Factory, e Prima maga Royal Opera House Covent Garden e il Orchestra diretta da Kent Nagano, Curlew Nella sua brillante carriera concertistica, (Didone ed Enea), pure per Chandos. La sua Metropolitan di New York, La Monnaie di River (l’Abate) e Maria di Rudenz (Rambaldo) svolta su raggio mondiale, Alastair Miles ha discografia include: Emma d’Antiochia di Brusselle, il Teatro della Bastiglia a Parigi, il per Opera Rara. cantato con direttori quali Carlo Maria Mercadante e Maria regina d’Inghilterra di Teatro Colon di Beunos Aires, e ai Festivals di Giulini, Zubin Mehta, Riccardo Muti, Myung- Pacini per Opera Rara, e L’enfant et les sortilèges. Bayreuth e Salisburgo. Sarah Walker è un’artista britannica di Whun Chung, Kurt Masur, Valery Gergiev e Ha svolto ovunque intensa attività cameristica Il suo repertorio comprende i maggiori ruoli massima distinzione. Ha cantato con tutte le John Eliot Gardiner, e con orchestre del e oratoriale cantando con orchestre di rango per mezzosoprano di Mozart, Gluck, Strauss, grandi orchestre, è stata solista memorabile nel massimo rango internazionale. Fra i suoi dischi internazionale. Rossini, Bellini e Berlioz. I suoi frequenti concerto finale dei Promenade concerts e ha figurano: la registrazione dell’oratorio Elijah – ingaggi in sede di concerto hanno incluso cantato la Nona sinfonia di Beethoven a che ha vinto un premio Gramophone – il I ruoli operistici di Garry Magee includono molte esecuzioni con pretigiosi direttori. La sua Berlino con Bernstein a celebrazione della Requiem di Verdi, Saul e Agrippina di Handel Guglielmo (Così fan tutte) e il Principe Afron discografia comprende: I Capuleti e I caduta del muro di Berlino. La sua fama si e per Chandos Caractacus, The Rape of Lucretia (Le coq d’or) per la Royal Opera; Eddy (Greek) Montecchi, Norma, Lucia di Lammermoor, estende in campo cameristico ed ha al suo e La bohème (quest’ultima in collaborazione con la London Sinfonietta, Malatesta (Don Iphigénie en Tauride, Il crociato in Egitto (per attivo una vasta discografia. con la Peter Moores Foundation). Pasquale) al Teatro della Monnaie, Silvano Opera Rara) e per la Chandos/Peter Moores Nel campo della lirica Sarah Walker ha (Un ballo in maschera) per l’opera di Foundation Cavalleria rusticana e un disco di cantato alla Royal Opera House, Covent Mary Plazas ha studiato presso il Royal Montecarlo; Yeletsky (La dama di picche) per la Grandi arie operistiche. Garden, English National Opera, Vienna, Northern College of Music e il National Opera Flanders Opera; lo Stewart (Flight) per la Ginevra, Montecarlo, Parigi, Barcellona, Studio, vincendo nel 1991 una borsa di studio Glyndebourne Festival Opera; Mountjoy Matthew Hargreaves ha studiato alla Guildhall Madrid, Brusselle, Amburgo, San Francisco, della fondazione Kathleen Ferrier Memorial. Ha (Gloriana) per Opera North e la parte di School of Music and Drama con Rudolph Chicago, Alla Scala e al Metropolitan di New debuttato sulla scena lirica nella parte della Voce protagonista nell’Eugene Onegin per la British Piernay; nel 1997 ha vinto Premio Decca York, nonché al Festival di Glyndebourne. celeste (Don Carlo) per la English National Youth Opera. La sua attività concertistica ha nella competizione Kathleen Ferrier. I suoi Nel 1991 è stata insignita dell’ordine CBE Opera e per la stessa compagnia ha cantato in incluso la Cantata della primavera di ruoli comprendono Figaro, Dandini dalla Regina d’Inghilterra. grado principale dal 1995 al 1998. I suoi ruoli Rachmaninov con la City of Birmingham (La cenerentola), il Magistrato (Werther), hanno incluso la parte di protagonista ne Symphony Orchestra e con l’orchestra della Fiorello (Il barbiere di Siviglia) per la English La carriera vocale di Geoffrey Mitchell si La volpe astuta, Micaëla, Mimì, Leila, Nannetta, Komische Oper di Berlino. Touring Opera, Polyphemus (Acis e Galatea) e distingue per il repertorio eccezionalmente 52 53 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 54

ampio, che va dalla musica antica a quella posizione di “principale orchestra londinese” è diretto la prima spagnola di Peter Grimes a festival internazionale di Hong Kong, con contemporanea. Tale fatto gli ha fruttato dovuta all’energia, all’incomparabile intensità Madrid e nel 1996 il primo allestimento l’orchestra sinfonica UNAM a Città del numerosi inviti della BBC ad esibirsi nel ruolo sonora e all’impegno con cui commissiona ed spagnolo della Carriera di un libertino, ha Messico e in una serie di rappresentazioni della di direttore e, in seguito, un’attività più esegue opere musicale di eminenti compositori inaugurato due nuove sale di concerti con la Carmen in Giappone. Nel 1996 ha diretto impegnativa in sintonia con propri cantanti contemporanei, come quelle del defunto Nona sinfonia di Beethoven ed un nuovo Katya Kabanova in un nuovo allestimento per nonché la consequente formazione del Witold Lutoslawski, di Sir Harrison Birtwistle teatro lirico con la Carmen. Altre tournées il festival della Nuova Zelanda. Geoffrey Mitchell Choir. Dopo le prime e di James MacMillan, ospite della l’hanno portato in Italia, dove ha diretto Ha iniciso numerosi dischi per Opera Rara, registrazioni su disco il complesso ha potuto Philharmonia Orchestra. Ricciardo e Zoraide al Festival Rossini di fra questi il più recente è quello di Rosmonda stabilire regolari rapporti di lavoro con la Pesaro, in Francia, Germania, Belgio, Olanda, d’Inghilterra di Donizetti, che ha vinto il Priz compagnis Opera Rara, per la quale ha David Parry ha studiato con Sergiu e Svezia dove ha diretto con grande successo Cecilia in Belgio; per Chandos ha diretto registrato ben 15 opere. Attualmente gode di Celibidache ed ha iniziato la sua carriera come Il sogno di una notte di mezza estate di l’acclamato disco della Tosca, tre dische di crescente reputazione grazie agli ulteriore assistente di Sir John Pritchard. Ha fatto il suo Britten. grandi arie operistiche, Don Pasquale, incarichi ricevuti dalla BBC e dalle case debutto con l’English Music Theatre ed è poi Fuori d’Europa David Parry si è esibito al La bohème, Cavalleria rusticana e Pagliacci. discografiche internazionali. diventato direttore stabile della Städtische Bühnen Dortmund e di Opera North. Dal Con la constituzione della Philharmonia 1983 al 1987 è stato direttore artistico di Orchestra Walter Legge realizzò il suo grande Opera 80 e dal 1992 Direttore Musicale sogno di creare un complesso di classe fondatore del festival di opera contemporanea internazionale con strumentisti selezionati dell’Almeida Opera. rigorosamente. L’Orchestra, che diede il primo Svolge un’intensa attività sia nel teatro lirico concerto nell’ottobre del 1945 sotto la sia in campo sinfonico. Il suo repertorio da va bacchetta di Sir Thomas Beecham, si affermò Mozart e l’opera italiana del Settecento a ben presto come uno tra i complessi mondiali Janácˇek e Britten e la musica contemporanea. di effettiva grandezza. La Philharmonia, da In Inghilterra ha diretto frequentemente alla tempo associata a numerosi direttori di fama English National Opera ed in concerti internazionale, è senz’altro il complesso sinfonici con la Philharmonia. Nel 1996 ha sinfonico con il maggior numero di debuttato al festival di Glyndebourne con registrazioni discografiche all’attivo (oltre Così fan tutte. mille), che includono alcune opere per la Peter Dirige spesso in Spagna nella maggior parte Moores Foundation/Opera Rara. La sua dei teatri lirici e con orchestra sinfoniche. Ha 54 55 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 56

Alastair Miles as Mephistopheles in Paul Charles Clarke as Faust in the 1996 Welsh National Opera the 1996 Welsh National Opera production of Gounod’s Faust. production of Gounod’s Faust. Photo by Bill Cooper Photo by Bill Cooper

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COMPACT DISC ONE I shall not fear to reach my final destination; along the way each darting swallow You seem somewhat startled. I rejoice, for when I drink this potion flies up so high no eye can follow I thought this was what you expected; Act I I submit of my own free will! through the silver haze of the dawn. I look just like you, an elegant hat For when I drink this potion The sky is clear, the air is mellow and a purseful of money. 1 Introduction I shall die of my own free will! and sunrise calls us to the meadow. Don’t tell me my coat’s out of fashion! Scene 1 (As he raises the goblet to his lips, the voices of Thanks be to God! I’m sorry, I left in a hurry! Speak up, my friend, what do you want? women singing are heard outside.) Young Girls and Harvesters Scene and Chorus Come on, tell me! Are you afraid? It is night. Faust, alone, is seated at a table covered Young Girls Thanks be to God! with books and parchments; an open book lies 3 Faust Lazy little daughter Faust before him. His lamp is nearly extinguished. No. open up your eyes; God! God! God! Faust morning’s golden mantle Mephistopheles Recitative 2 Nothing! spreads across the skies. Could it be you doubt my power? In vain I have probed the secrets of creation, The birds sing in chorus Faust Faust 4 in the dark watches of the night; to welcome in the dawn, Can your God help me know the truth? D’you blame me? no whisp’ring voice to bring me consolation, who, with rosy fingers, Can he restore my faith or my passion or my caresses the waving corn; youth? Mephistopheles no refuge, no respite! You are welcome to test it! Through the long hours of lonely grieving, flowers’ open faces I place a bitter curse on ev’ry human pleasure! I have prayed the day will soon be here kiss the sun above; A curse upon the fetters Faust when I break my ties to the living! ev’rything in Nature chaining me to life here below! Begone! Nothing is clear! Nothing is sure! is yearning for love! And I curse all the brief illusion; empty hopes that fade in confusion, Mephistopheles (He closes the book and rises. Day begins to dawn.) Faust Ha! Beware, lest you seem ungrateful! The sky grows pale and the dark night is flying; phantoms of love, phantoms of war! Happy voices leave hollow echoes Curse contentment and joy, the false wisdom of For take my word, when Satan comes the blush of dawn fades into grey. that fade vainly away! he will not endure such behaviour. (despairingly) science, (He raises the goblet to his lips again.) and of faith, and of pray’r, What’s the use of calling him Another day and still another day! I raise the ancient cup: why do my fingers all the way from his domain Oh death, grant me the peace for which my soul and curse above all acquiescence! tremble? Appear, Satan, appear! if you then intend to send him back again! is crying! My hand still declines to obey! (picking up a flask from the table) Faust Ah, well! If death would still delay, (The voices of men on their way to work are heard Scene 2 What can you do for me? outside.) then I will choose my time of dying! Duet Mephistopheles (He pours the contents of the flask into a goblet.) Harvesters Mephistopheles (appearing suddenly) Anything… Everything… But I must be told To life I bid a glad farewell! The sunrise calls us to the meadow, 5 Here I am! what you require; coffers of gold?

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Faust Mephistopheles nor will you find the shadow of death; you will one glorious orgy I’ve no use for limitless riches. Merely this: find life and youth! of body and soul! Up here, I offer my assistance, So help me recapture Mephistopheles Faust (taking the goblet and addressing the vision of but down there I will count on yours! the fervent caresses Ah, I see where the wind is blowing! Marguerite) of youth’s eager rapture You long for glory? Faust To you, adorable vision of love! in youthful excess! Down there? (Faust drains the goblet and is transformed into a Faust young man. The vision vanishes.) Mephistopheles Something more! Mephistopheles And sample the bliss Down there! Mephistopheles Mephistopheles Come! of careless excesses, (holding out a parchment ) of women’s caresses Then for power? Faust Come on, sign it! What’s this? You’re trembling! and lovers to kiss! Will I meet her again? Faust Do you still think you might refuse? And passion that surges No! The gift I desire Youth herself is calling you. Dare to look at her, Mephistopheles out of your control, comprehends them all: dare to choose! Tomorrow… one glorious orgy I want to be young again! (Ha makes a sign; a vision appears showing Faust of body and soul! 6 So bring me the bliss Marguerite at her spinning wheel.) What! Go out and recapture of careless excesses, the fervent caress Faust Mephistopheles of women’s caresses of youth’s eager rapture Heav’nly vision! Or today. and lovers to kiss! and its excess, And passion that surges Mephistopheles Faust of youth’s eager rapture out of my control, My friend, aren’t you tempted? Thank God! in youthful excess! one glorious orgy Faust (eagerly reaching for the parchment ) Mephistopheles of body and soul! (They rush off and the curtain falls.) Quickly! She’s waiting! So help me recapture the fervent caresses Mephistopheles Faust and Mephistopheles Act II of youth’s eager rapture You sign here! Lead onward! At one of the city gates, on the left an inn with a in youthful excess! sign showing the wine god Bacchus (Faust signs the parchment.) Faust And bring me the bliss Mephistopheles Scene 1 I see! My pow’r can transform your Mephistopheles (picking up the goblet from the of careless excesses, existence! table) of women’s caresses Chorus And after that, master, if you need further proof, and lovers to kiss! Students Faust drain the cup; you will find there no foaming And passion that surges 7 Beer or gin And what would I owe you in return? poison brew, out of my control, or wine or kvass, 60 61 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 62

joy lies in a Sundays are spent passing the time Matrons In the end we shall full glass! down where the river murmurs gently, Your looks are pleasing, overcome the lot! Legs are hollow, watching all the boats sailing by put them to use, Now we come to court her, heads are hot; till the bottle is empty! before your sins who will be the one? drunkards swallow come home to roost! Goddess, be my lover, Young Girls the lot! (to the young girls) say we’ll meet again, Do you think those lads have seen us How they smirk and simper, yes, say when will we meet again? Wagner as they swagger past? just as bold as brass! Watch their tempers simmer; Ale or port Now the crowd has come between us; Impudent and shallow they lose them so fast! or punch or rum, don’t walk on so fast! Jezebels, the lot! What a childish farce! only water Young Students Mother never taught her we shun! Students Have you seen such airs and graces? how to turn them down. Wine’s your lover, Here’s to the booze! We shall spoil their plan! She will be forever beer’s your friend; Beer or gin Friends, beware of their embraces; chasing after men! drink forever, or wine or kvass, stay free while you can! Amen! Townsmen joy lies in a Students Matrons We shan’t refuse full glass! Ale or port etc. All this silly girlish teasing to put this wine to proper use! Legs are hollow, fools men every time! Another glass, it won’t be the last! heads are hot; Soldiers They forget we grow more pleasing Some husbands have to swallow a lot! drunkards swallow Soldiers storming a fortress as we reach our prime! It’s thus the whole world over the lot! play a daring game! Ale or port Young Girls when women ensnare men! Soldiers courting a mistress or punch or rum, We try to please them, Some husbands have to swallow a lot! find it much the same! only water what is the use? Their wives are always right in the end! If you’re fearless and handsome we shun! (to the older women) Let nothing hinder a man victory is sure. Wine’s your lover, How they whine and whimper from enjoying his glass! Another glass! Make them yield and pay the ransom; beer’s your friend; now their day is past! Nothing should hinder claim the spoils of war! drink forever, Taunting words are hollow, the joys of the glass! Amen! Townsmen we don’t care a jot! Young Students Life at home is scarcely exciting; Life is getting shorter; We’ll stop our teasing, Soldiers that’s why we tell stories of war, now’s the time for fun! let’s call a truce. Here’s to the army! while remaining safe and secure, Just in case we never Watch their tempers simmer; And the brave recruits! far from any fighting! have the chance again! what a childish farce! Be she saint or sinner,

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we can always win her Valentin Duty bids me leave this place etc. Wagner once the die is cast. Marguerite and I have never been apart; Oh, God of love, look down from above, One is all we require, to show your good intentions! On the trail we follow, she needs a mother’s wisdom to offer her watch over Marguerite, Oh God above! Mephistopheles straighter than an arrow, protection. Wagner I shall do what I can to merit your attention! swifter than a shot! On whom can she depend? 10 Cheer up, my friends! There’s no danger of dying! When he wants his sport Song of the Golden Calf Siébel Wine is too precious to water with crying! a soldier gives no quarter So raise your glass and sing a happy song Mephistopheles Rely on our affection, 11 till the battle’s won! to cheer us on! Pride of place to the golden calf! And we like to savour her friends will keep her safe while you’re away. All the nations’ the trophies of the brave Valentin Students invocations at every battle’s end! My thanks! So raise a glass and sing a happy song offer a universal proof! to cheer us on! All the world, from throne to cellar, Scene 2 Siébel Wagner gathered in their idol’s thrall, Your trust will be repaid! A rat, not so very bold as the jangling florins fall Scene and Recitative and not so very fine, dance a frenzied tarantella Valentin Students once lived in a cellar cold when their wretched lord commands, (He enters, holding a medallion in his hand.) You may depend on us! beneath a vat of wine… and the Devil leads the dance! 8 Oh, sacred medallion Valentin A cat… All from the sister I love, 9 Duty bids me leave this place, And the Devil leads the dance! give me the strength to challenge cradle of my father’s race. Mephistopheles (appearing suddenly, interrupting the tyranny of death, At my farewell, oh God of grace, Wagner) Mephistopheles with the help of God above! my sister I entrust to Thee. Pardon me! Bow ye gods to the golden calf! (He hangs the medallion around his neck.) Shield her from care and pain, Wagner In his tawdry, worldly glory, Wagner guard her till I return again. Eh! howling his vile, blaspheming laugh! Ah! Here’s Valentin, eager to join the She is dear as life to me. He despises human sorrow battalion! Now as duty and honour require, I go eager to march with the brave and the free, Scene 3 and the seething human hordes, Valentin none more keen or more fierce in the battle’s Mephistopheles who, with blood-encrusted swords, I’ll drink a final toast with my faithful raging fire, May I join your revels? swarm down every slimy furrow companions! fighting for fatherland and sweet victory! I have a thirst to match the devil’s! as their lust for gold demands, Wagner And if Thy will be that I perish, But first, forgive my interruption of your song! and the Devil leads the dance! What is wrong? I can see you leave with heavy I’ll still protect the sister I cherish, And, when it’s over, I shall sing some of my All heart… Oh Marguerite! own! And the Devil leads the dance!

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Recitative and Chorus Valentin (Valentin and the rest advance on Mephistopheles, Faust Students For whom? Was that my sister’s name? holding towards him the cross-shaped guards of their Can you find me the lovely girl 12 Your song deserves our thanks! Mephistopheles swords. Mephistopheles backs away.) brought to life by your art? Valentin A suggestion to guide you; Siébel, Valentin, Wagner and Students Was she real or illusion? An unusual person! Your murderer, my friend, is a colleague of mine! 13 Though the fiends of hell may defy resistance, Mephistopheles Wagner (snatching the cup from Wagner) we can still prevail with divine assistance! Quite real! Virtue defends her against our Your very good health! Can we tempt you with a glass of this excellent Valentin intrusion; wine? (He tastes the wine and throws it from the cup.) she puts her trust in a higher world! Peuh! This is horrible wine! Though steel may dissolve in his hands… Mephistopheles Life will improve with a decent vintage inside you! Wagner and Students Faust Yes, of course! (striking on a barrel surmounted by a figure of Though steel may dissolve in his hands… I’ll have her nonetheless! Come, if you can’t (taking Wagner’s hand and reading his palm) produce her Bacchus, which serves as a sign for the inn) Valentin Ah! Your hand bears an ominous sign! Hola! Bacchus, wake up! We’re thirsty! find another master to serve! There’s a break in your lifeline. …the devil… (Wine flows from the barrel.) Mephistopheles Wagner Please be my guests! Wagner and Students …the devil… Say no more! My employment here is more than And so? I’ll try to satisfy any requests! I deserve, Mephistopheles Where were we now? Yes, I’ve remembered; Valentin, Siébel, Wagner and Students I wouldn’t like to lose the job, as I will prove to A dreadful omen! we were drinking a toast to Marguerite! …will find this cross can thwart the power of evil! you, sir! You’ll meet your final hour as you lead the attack! Valentin The blessed cross will thwart the power of evil! She’ll be here… at this spot, answering my Enough! Siébel (Everybody leaves. Mephistopheles remains, command; Treat her name with respect or your days here Is this some magic power? subdued.) Beautiful, chaste and young as my master are numbered. demands! Mephistopheles (taking Siébel’s hand ) Wagner and Students (drawing their swords) Scene 4 I seem to have a knack; Hola! Mephistopheles the truth lies in your palm: I can tell you are Scene 5 Mephistopheles (mockingly) 14 You haven’t seen the last of me yet! cursed Why shake with fear when you threaten my life? Au revoir! Waltz and Chorus and than any flower still in bloom (Students and girls enter arm-in-arm followed by (He traces a circle around himself with the point of Faust (entering) will die if you touch it. musicians. The townspeople are behind them. The his sword. Valentin goes to attack him, but his What is wrong? musicians begin to play.) Siébel sword breaks in the air.) Mephistopheles Me! Valentin Nothing! I’m all ears, Doctor Faust! Chorus Mephistopheles My blade has been shattered What is your dearest wish? I’m here at your 15 Just as when the whispering breezes No more bouquets for Marguerite! and the splinters scattered! disposal! blow hither and thither and yon,

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whirling clouds of dust along, Siébel (approaching Marguerite) Mephistopheles (to Faust ) Act III so the waltzers’ joyful sallies Marguerite. And so?… 17 Entr’acte set alive the hills and valleys Mephistopheles (stepping forward and blocking Faust with the sound of rousing song! Siébel’s way) And so… she has refused me! Scene 1 Marguerite’s garden. At the back, a wall with a Mephistopheles (to Faust ) You called? Mephistopheles (laughing) little door. A bower on the left, a house on the right You’ve a duty Cheer up! Don’t be depressed; Siébel with a window facing the audience. Trees and to beauty, if you must fall in love Damn your banter! Let me pass! shrubs etc. Siébel enters and stops by a bed of roses so take your chance I shall help in your quest! Mephistopheles and lilies. with a pretty (He goes off with Faust in the direction taken by What marvellous luck; you’re still here! young filly Marguerite.) Siébel who’d love to dance! Ha ha! Come now… Don’t be shy… I won’t bite! Some Girls 18 You must help me reveal Faust Did you hear? the love I feel. (Siébel recoils from Mephistopheles, who chases him As you open before her No! This joke around the scene behind the dancers.) Other Girls is becoming stale. Marguerite tell her how I adore her. Just leave me alone Faust (accosting Marguerite) rejected him outright! You’d think she’d be Let your presence impart with my vision. 16 May I presume to ask, most beautiful of ladies, discreeter! my secret heart! if you will take my arm and walk with me Be the ardent expression Siébel (entering) today? Students and Girls of an innocent passion; If I wait here, I’m bound to meet Marguerite! One, two! Take to the floor! bear my love to her there Marguerite Let’s dance some more! on scented air! Some Girls (approaching Siébel ) Thank you, no! I am neither a lady nor a All (He plucks a flower.) We’d ask you to dance, but it isn’t a leap year! beauty, Just as the whispering breezes etc. It’s faded! and need no helping hand to guide me on my Siébel They spin till they’re dizzy, That damnable fiend wields a power way! No! No! I don’t know how to waltz! then once again. that Nature obeys! (She leaves.) Their God has no mercy, (He throws the flower away.) Chorus pleasure’s his name! When I pluck any lovely flower Faust (gazing after her) Just as when the whispering breezes etc. The world is in motion it withers away! By the Lord! What refinement, what lack of and racing by, What if I dipped my hand in holy water? Faust affectation! what joy! What elation (He dips his fingers in a little font attached to the There she is! My vision! Child of my dreams, I love you! in every eye! wall.) Mephistopheles Siébel (returning) The world is in motion, At prayer here every day I have seen Marguerite! Speak up! This is your chance! I must have missed her! crowds go racing by. I’ll try once again! Now or never!

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(He plucks another flower.) Mephistopheles Scene 4 Faust Are they still living? Yes! Then Hell has lost its Sh! See for yourself! Cavatina Let’s go! I don’t want to see her again! power! (They conceal themselves.) Faust Mephistopheles You must go in my place Give your conscience a rest. Siébel (returning, unaware of the presence of Faust 21 What turbulent feelings possess me? to her embrace. Put this box in the doorway; Be the delicate language and Mephistopheles) It must be love that begins to obsess me! Who’d resist such a sweet bouquet? Oh, Marguerite! I am here at your feet! she’s bound to find it there! that disguises my anguish, (He puts the casket next to the flowers.) Mephistopheles (aside, mockingly) This pure abode of simple virtue but allows her to know I feel lucky today! I love her so! So sweet! charged with the essence of compassion You must go in my place Siébel is blessed by the light of her presence! (Mephistopheles leads Faust away. They hide in the to her embrace. Victorious! What riches lie in poverty concealed! garden.) When the flowers surround her I’ll tell her how I overcame the trials he set me, What sweet content these humble walls may with their perfume around her and if she wants to know how my heart is enslaved, yield! Scene 6 she will never resist one sweet kiss shall be her answer! Bounteous Nature, here she received the gift of (Marguerite enters through the little door and comes one tender kiss! beauty, silently to the front.) Just one kiss, Mephistopheles (mockingly) and here your watchful eye kept her safe night one tender kiss! How depraved! and day Recitative (Siébel fastens the bouquet to the door and leaves.) with the fondest of care. Marguerite 2 He would have held my hand if I’d only allowed Scene 2 Here, heaven’s inspiration brought her a woman’s Scene 3 feeling, him. Scene and Recitative and through the power of love an angel from I still don’t know his name, or the least thing Mephistopheles (to Faust ) (Mephistopheles and Faust enter cautiously.) above about him! 20 Wait here for a while, Doctor Faust, Faust came to answer my prayer! (She sits down at her spinning wheel and as she and the charming bouquet presented by your 19 Are we there? Within, yes, within. spins she sings an old ballad.) pupil, This pure abode of simple virtue etc. Mephistopheles I’ll match with a treasure so rare, Song of the King of Thulé Follow me! jewels so far beyond compare, Marguerite COMPACT DISC TWO Faust even dreams cannot show their equal! ‘Once a faithful King of Thulé Did you see someone else? Faust Scene 5 mourned his lady fair, his beloved. Mephistopheles Let me be! Mephistopheles (re-entering, carrying a jewel case) In her memory he forged a goblet all of gold, as bright as the day.’ Siébel, looking for love! Mephistopheles 1 Be careful! Here she comes! Faust As you say, I won’t be far away. Jewels will overshadow his bouquet, He was handsome and charming as far as I could Siébel! (He leaves.) and if not I’ll give my powers away. say.

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‘As he sat in pomp and in splendour, Oh God! What are these jewels? (She goes back to the jewel case.) Martha always he kept it by his side, Like a magical dream Like a new butterfly emerging, What presumption. and when he drank the red, red wine their colours blaze. It’s no illusion! gems too rich and rare to resist Mephistopheles his eyes would fill with tears so tender! My eyes are overwhelmed entwine my throat, adorn my wrist! Forgive me for intruding, ma’am, we mean no by their wanton profusion! (She puts on the bracelet and the string of pearls.) ‘As every life must one day end, harm! (She puts down the casket and kneels to look at the Ah! Like a living hand clasping my arm in so the King, on his death-bed lying, (aside to Faust) jewels. She takes out the earrings.) greeting! called for the cup as he lay dying, You can see that the jewels have worked like a I don’t know if I dare Ah! I see beauty gaily laughing in the glass! etc. raised it up with a trembling hand!’ charm! have the boldness to wear Marguerite, is this a dream? (aloud ) I talked a lot of nonsense, why did I blush like that? this pair of golden earrings! Will it vanish before me? Dame Martha Schwerlein? Ah, I see what I need; right here inside the casket No! It’s the face of a queen ‘He smiled, for his sorrows were over. there’s a mirror. Crowned with honour and glory! Martha Draining the wine he sighed “Farewell!” I know what I want to ask it! I am she. As the cup lay still where it fell (She puts on the earrings and looks at herself in the Scene 7 he went to meet his own true lover.’ Mephistopheles mirror.) Martha (entering) I’m entrusted He was so bold, yet he suggested nothing wrong. 4 Bless my soul, I’m dreaming! with a message; prepare for a terrible shock. The manners of a lord! The Jewel Song You’re looking simply lovely, my darling! Your absent husband, madam, is dead, buried (She puts the spinning wheel away.) Ah! I see beauty Is the jewel box a gift? and burning! Ah well, life carries on! gaily laughing in the glass! Dear Valentin! May God protect you Can it be Marguerite? Marguerite Martha while you’re far away! Answer me! Answer, are you Marguerite? Alas! I suppose it was brought by mistake. Oh God! (She faints.) I’m alone with the moonlight. No, no, this is not you! Martha (noticing the flowers) This is a stranger before me. Not at all! Marguerite 3 A bouquet! She’s a fairy tale princess. If you found them, you keep them. Say no more What is wrong? It’s from Siébel I’m sure. Poor foolish boy! This is not you, about it. Mephistopheles (reviving Martha) (She sees the jewel case.) but a princess accustomed They’re for you, from a secret admirer of course! Nothing! But what is that? to honour and glory! Husbands are not so free as I know to my cost! Why on earth is this casket at my door? Ah, if my love could see Martha I’m frightened to touch it… Then again… this wond’rous change in me, (Mephistopheles and Faust enter.) Oh, what dreadful luck! He will not be There is a key to try… he’d find a village maiden returning! Scene 8 I’ll turn the lock! I’m so nervous… But why? as lovely as any lady. Marguerite (aside) If I open the lid, who could blame me for looking? Ah, he’d find a village maid Mephistopheles (saluting) When I see him, I tremble, (She opens the casket.) could be a noble lady! 5 Dame Martha Schwerlein, I believe. how my face must be burning!

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Mephistopheles (to Martha) Marguerite Martha Marguerite Your absent husband, madam, is dead, buried Don’t ask, it wouldn’t be fitting! Beware too much procrastination. You are not sincere, and burning! Mephistopheles (offering his arm to Martha) Think, dearest sir, it’s not too late. secretly you jeer Faust (aside) Take my arm! Mephistopheles at me and my lack of breeding. Whatever you say The sight of her dispels this tempestuous Martha (aside) First-rate advice! yearning! I should not remain… He’s so refined! (They walk together into the garden. Faust and How my heart is beating! Martha (to Mephistopheles) Mephistopheles (aside) Marguerite re-enter.) It’s wrong! Was anything left for his wife? I’m afraid she’s no spring chicken! Faust Yet my heart is wildly beating! Mephistopheles Marguerite You seem… very lonely. No! So take my advice; embark on a new life; go Faust I am conscience stricken! Marguerite Take my arm, my dear. out and find My brother’s at war, I have lost my mother, a man to take his place tomorrow! Martha God has led me here I’m a little smitten! and sorrows come never alone and smiles on our meeting Faust (to Marguerite) for the sister I love is gone. so why be afraid, alas, Why remove the jewels you wear? Faust Poor angel! God knows how much I loved her! How my heart is stricken! to believe what I say? Marguerite In life we were never apart Hear a lover’s entreating! I should never have put them on, (Marguerite takes Faust’s arm and they walk and our happiness seemed forever! (Mephistopheles and Martha reappear.) in truth they’re only borrowed… together in the garden.) But those whom God calls first to heaven are the young and the pure-at-heart! Martha Martha (to Mephistopheles) Mephistopheles (with affected ardour, to Martha) Every moment of the day Any man worth his salt would be proud to You say you travel all the time? Have you stopped your ears? she would be there, trying to make me smile. Or perhaps you sneer ensnare Mephistopheles Despite the pain, despite the sorrow, so choice and fair a widow! at my lack of breeding! Indeed. Work is a heavy load to carry, I’d relive everything tomorrow Don’t hurry away, Martha (aside) without friends, or a home, unmarried! Ah! just to have her here for a while! I’ve not had my say, Ah! Bah! Martha Faust why are you retreating? (aloud ) That may suit a man in his prime. If the Lord followed your example, Must you rush away? Go on… But one day you’ll feel the terrible sadness on the day of your sister’s birth Mephistopheles Mephistopheles of growing old alone and friendless. a blessed angel came down to earth! Do not shed a tear, Ah, death! No man escapes your shadow! Old age can be friendless! Marguerite our time has surely been too fleeting! Quartet Mephistopheles Why mock my words? Do not shed a tear, Faust (to Marguerite) Thoughts of such a miserable fate Faust I must disappear. 6 Please take my arm, they won’t mind! fill my soul with grim trepidation! No! I’m a lover. The beautiful things that you say

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make me long to stay, Martha (off-stage) adorns your flawless face with a pure and chaste Marguerite and Faust that needs no repeating! Don’t go far! reflection, Everlasting! Marguerite (to Faust ) Mephistopheles surpassing the beauty of the night! Faust You have to go… It’s nearly night. Au revoir! Marguerite Oh tender moon that fills the night Faust In the silence I am moved by a joy so enchanting! oh radiant love Beloved! Life and dreams drift apart… whose secret joy gleams pure and bright, Scene 10 I hear and understand this voice so beguiling Marguerite shine your light down which sings here within my heart! You must leave! Mephistopheles (alone) upon these lovers! 7 (taking her hand away from him) (She slips away from him and goes out.) And none too soon! Marguerite Under the looming shadows A moment’s pause, I beg you… Faust (following her) Let me be yours, I lay my life they walk, happy to be with each other… Faust Don’t desert me! Why take flight? here before you! Well, well, I shall not interrupt What is this? You are my all, I adore you, Mephistopheles or I may break the spell! Marguerite (plucking the petals from a flower) my love will never die! She’s a little near the knuckle! Oh night, unfurl your welcome shadow! It’s just a game! Say it… Say you love me! I’m in retreat! Oh love, deafen their conscience to untimely Don’t fret, indulge my whim! (He hides behind a tree.) remorse! Faust Faust 9 Marguerite! Martha (aside) And now, see how my powers force You talk so low I can’t hear you. I’ll be more subtle. all the flowers to bloom, sweeter and ever sweeter, Marguerite (tearing herself away from his embrace) (aloud ) till their scent bewitches the heart of Marguerite! Marguerite Ah! Please go! (He disappears in the shadows.) He loves me… No, he loves me not… I say… Where has he gone? Young man! Faust He loves me… Not… He loves me… not. Mephistopheles You’re heartless! He loves me! Yes! Scene 11 Marguerite Faust Martha Duet I am helpless! Won’t you stay? Yes, the flower cannot lie, the truth lies at your Marguerite (returning with Faust ) feet. Faust 8 Mephistopheles It’s very late… Farewell! Let your heart hear its voice, the voice of heav’n I cannot let you go! Have mercy! Catch if you can! Faust above you: Marguerite Ouf! That relentless old Medusa How can you be so cruel? He loves you! Do you know how much those You must go! is so keen to trap a man Think twice. Hands such as yours were designed words can mean? Go now, I beg! Yes, you must leave me she wants Satan to seduce her! for caresses. A love… Ever renewed, like a phoenix from the alas, I’m frightened, you must depart! Faust (off-stage) Let my eyes take their fill of perfection! ashes; Your love may break my heart, you must believe Marguerite! Where the soft silver light rising to burn again with a joy everlasting! me!

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Faust Marguerite Marguerite Girls’ Voices (off-stage) You mean I should desert you? Farewell! He loves me! What pleasure and pain! Her unknown lover lived to fight another day! What bitter pain, alas, In the darkness my heart rejoices! Ha, ha, ha, ha, ha! Faust if we must part, Marguerite! Nature’s untold myriad voices My joy is unconfined! Ah! Farewell! The Spinning-wheel Song Leaving you will surely break my tender heart! seem to swell the refrain (He starts for the garden door, but Mephistopheles Have compassion! ‘He loves you!’ Ah! Now my life has meaning! Marguerite bars his way.) Marguerite The night is my friend, I am reeling, They have cast me out! Ah, how heartless! You should not have spoken… drunk with all the pleasures of love, I was always first to blame others’ weaknesses, Scene 12 like the leaves my heart trembles and flutters! and quick to stand in judgment! Faust Come soon, ah, come my only love, So today they condemn me with pitiless fervour. Marguerite! Mephistopheles hurry to me! Come! Time has brought a shameful return. So imprudent! Marguerite Even though heaven knows it was not base Faust (rushing to the window) By the love you bear, love now confessed, corruption Faust Marguerite! grant me as a token Did you overhear? which led my soul towards perdition, of vows as yet unbroken, Mephistopheles but love, gentle love alone. oh, grant me this request! Mephistopheles Ha, ha, ha, ha, ha! When will he return? Every word! Faust Marguerite Contentment was fleeting, Your eagerness is too absurd! wretched now, I yearn, Oh, pure untainted girl! It’s hard to believe you’re my student. Ah! Chaste and unworldly (She gives herself to Faust’s embrace. Mephistopheles each hour keeps repeating… your power has moved me Faust laughs loudly and cynically as he leaves the When will he return? and claimed possession of my will! Go away! garden.) What star does he follow? I obey… but tomorrow… Each empty tomorrow Mephistopheles affords me no word, Marguerite Let’s hear, if we may, no consoling word, alas! Yes, tomorrow… I’ll be waiting. Act IV just what else she will say What star does he follow? Come soon! Come soon! when she’s alone again Scene 1 When will he return? with the starlight… Dear master! Faust Marguerite’s Room In silence I smother Before I leave you, the grief I must suffer! (Marguerite opens her window.) 11 speak once again to seal the spell! Entr’acte My tears flow unheard. You love me? Marguerite How I bear my sorrow Scene 13 (Marguerite, hastening towards the house, stops for 12 They pass me in the street… How we laughed he will never learn! an instant on the threshold and blows a kiss to Mephistopheles in the old days, How I long to hear him, Faust.) 10 Look there! She’s opening her window… long ago… but now… to see him again!

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My courage is spent, Marguerite Scene 3 where the love of your God and your mother’s my spirit is weary! No, say no more! (In the church. Some women enter the church. caress When will he return? Marguerite enters after them and kneels.) were held in one embrace! Oh my love, where are you? Siébel The voices of the damned call you forth to your Put an end to my sorrow All right! Will you always love him? Marguerite sentence: 15 if you love me! Dear Lord, accept the prayers of a penitent sinner; you will know no respite Marguerite hear me, in your mercy and love! (Siébel enters hurriedly.) Yes! I will! from everlasting pain, everlasting repentance, But I’ve no right to ask for sympathy from you. Mephistopheles (appearing behind a pillar) in everlasting night! My poor Siébel. My troubles hurt you too. No! You shall not be heard! Marguerite Scene 2 Strike her senseless with terror! (Siébel takes Marguerite’s hand.) God! Whose voice do I hear in the whispering Scene and Recitative Spirits of Hell, heed my command! shadows? Siébel Romance Demons (off-stage) God, I implore… The light is failing… I see no 13 Marguerite! Siébel Marguerite! more! 14 When happy days bring you gladness and Marguerite Priests and Boys (invisible) laughter, Marguerite Siébel! When God rends the skies asunder, seeing your joy my sadness disappears. Who is calling? and his cross shines forth in splendour Siébel But if the pain and sorrow follow after, Demons all creation comes to its end! Again in tears! oh, Marguerite, oh, Marguerite, Marguerite! Marguerite I shed a tear to mingle with your tears! Marguerite Alas! We are two flowers that bloom beside each Marguerite Alas! This holy music strengthens my They’ve all forsaken me but you. other; I am fainting… I’ll die! foreboding! destiny guides us on a single course. Dear Lord, must I now Mephistopheles Siébel I share your grief as if I were a brother, render to heaven the price of my shame? I’ve the strength of a child, but I’m a man in oh, Marguerite, oh, Marguerite, No! Unpardoned to hell you must go! spirit! blameless and chaste, my selfless love endures! Mephistopheles The sacred light of life is fading! Recollect bygone days, when the bright-winged I’ll exact my revenge for his cowardly flight! Priests and Boys Marguerite angels I’ll have his life! How may I approach my Saviour? God will reward your love, it brings me kept you safe in their love: Who will be my one protector? Marguerite consolation. you would come to His house, singing hymns of For redemption is never sure! But whose? Though I may risk contempt and condemnation thanksgiving Siébel I’ll go into the church. They cannot bar my way! to your Saviour above. Marguerite I’ll tell you if you wish it… The child that I shall bear; for his sake I will As you murmured a prayer full of innocent feeling, Ah! These words increase my oppression! The traitor I despise! pray! your heart still kept a place My temples are ready to burst!

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Mephistopheles Valentin (noticing Siébel ) then our voices unite Siébel (with an effort ) Farewell to nights of love and to days full of By the Lord, it’s Siébel! in the battle cry! You see… passion! Siébel (embarrassed ) March on to the fight, No, I cannot… Your fate is sealed! Your soul accursed! As you see… I… to win or to die! Valentin (starting towards the house) Marguerite, Priests and Boys Home fires await, What are you hiding? Valentin Dear Lord! In the name of all sinners our task is done, Embrace me, Siébel (trying to hold Valentin back) accede to my prayer! our spirits soar in expectation. welcome me home! Please listen! Shine a light of mercy upon us Peace is restored; the war is won, Where’s Marguerite? Don’t condemn her unheard. to ease our despair! our homes await, our task is done. Dear Lord! In the name of all sinners, Siébel Friends and lovers cheer; we’re home at last, Valentin I implore you, accede to my prayer! She’s still at her prayers, I suppose. a time for joy and celebration. Let me past, let me past! Though many a heart is beating fast (He rushes into the house.) Shine a light of mercy upon us Valentin to comfort our despair! when they recall the dangers past. Siébel Prayers for my safe return! What jubilation! Mephistopheles She’s a saint! Try to be kind! And now we may claim Oh God, do not desert her! Marguerite, your damnation awaits in Hell! When all the tales are told of our exploits in the victor’s embrace! (He vanishes.) battle Protect her to the last! (The Soldiers march off. Valentin and Siébel Marguerite she will hang on every word! remain.) Ah! Soldiers Scene 6 Home by the hearth merrily burning, (Faust and Mephistopheles enter, the latter carrying COMPACT DISC THREE stirring tales frightened children beg to hear once Scene 5 a guitar. Faust goes towards Marguerite’s house, then stops.) Scene 4 more Recitative from the brave soldiers returning. Valentin Mephistopheles The Soldiers’ Chorus Evoke the cannon’s roar, 3 Come on, Siébel, I need a drink or two! Why wait another moment? Soldiers and echo the turmoil of the war. We’ll go inside then I can hear the news! Let’s go into the house! 1 Come along my brothers, 2 We seek the soldier’s immortal prize; lay down your arms at last now the fighting is glory or death under foreign skies. Siébel Faust done. Conquering sons of a warrior race, No… You must wait! A plague on you! I fear misfortune and disgrace once more follow me Our sisters and mothers our courage defies the danger we face! Valentin here. can dry their bitter tears and greet us every one! If to lay down our lives But why? March homeward my brothers, is our destiny Why this strange inhibition? Mephistopheles our sisters and mothers for the land of our birth Look directly at me… You are wasting your time. You loved her and are all drying their tears to greet us every one! and our liberty, Siébel, what does this mean? you left her!

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Now it is time to go where we will be more Don’t give him a kiss, my sweeting, His rage inspires derision. Faust welcome. till you wear his ring! When he strikes I’ll strike again My courage and purpose wane Come, the Sabbath awaits! Ha, ha, ha, ha, ha! with terror and confusion! before such resolution! Faust Valentin Spilling his blood makes vain Marguerite! Scene 7 Oh God above, inflame my fatal resolution! all hopes of my salvation! Redouble my fatal resolution! To spill his blood Mephistopheles Trio: The Duel ends all hope of my salvation! The choice is made, I cannot fight such Valentin (rushing from the house) His blood will clear my name, Mephistopheles overpowering passion. 5 What can I do for you? the blood of retribution! All his threats are in vain, But, if you wish to gain admission Mephistopheles Faust (aside) you’ll stand a better chance with the help of my My courage and purpose wane his rage inspires derision. My friend, we have intruded. How gauche! When he strikes I’ll strike again voice. It was not to yourself my serenade alluded. before such resolution! (Faust, deep in thought, moves away.) Spilling his blood makes vain with terror and confusion! (Mephistopheles accompanies himself on the guitar.) Valentin all hopes of my salvation! Valentin My sister would enjoy your charade more than I! Serenade To spill her brother’s blood makes vain I’m ready! Take up your guard! 4 ‘Is my love awake or sleeping, Faust (aside) all hopes of my salvation. Mephistopheles (softly to Faust) does she hear my call? His sister! Valentin (grasping the medal which is hanging Keep as close as you can. Catherine, oh my sweeting, (Valentin shatters Mephistopheles’s guitar.) around his neck) Concentrate on the thrust, do you hear? I will don’t you hear my call And you, my sister’s parting thought. parry. Mephistopheles as the shadows fall?’ You were my guardian and companion, (They fight. Valentin falls, mortally wounded.) When your lover comes a calling What a crude exhibition! but now I scorn the help you brought Mephistopheles then your heart takes wing. Clearly you are not a musician! accursed medallion, How are the mighty fallen from hero to carcass! Ha, ha, ha, ha, ha! Valentin your help has been too dearly bought! And now, make your escape! And hurry! Don’t unlock your door my darling You try my patience! Reply! (He throws the medal away.) (He drags Faust away.) till you wear his ring! Which one of you will give me satisfaction Mephistopheles (aside) ‘Catherine, I adore you, for this disgrace and degradation? An act you may regret! Scene 8 will you keep our tryst? Which one will die in defence of his cause? Why refuse when I implore you; Valentin The Death of Valentin (Faust draws his sword.) will you crown our tryst Oh, God above, inflame Martha and Women with one tender kiss?’ Mephistopheles my fatal resolution! 6 Over here, come at once! When your lover comes a-pleading Since you insist… Go on, my friend the floor is Redouble my fatal resolution. They were fighting in public, then your heart takes wing. yours! His blood will clear my name, now one lies wounded there. Ha, ha, ha, ha, ha! All his threats are in vain. the blood of retribution! Come and see, here he is!

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Women and Men Marguerite Valentin Mephistopheles He is barely alive; look and see if he’s breathing. I shamed my brother! Marguerite, my curse upon you! Did we not decide Quick, over here! He needs our help at once! What bitter pain! Death waits for you as for us all. there would be no questions, remember? Hurry up! I… must die by your hand… like a soldier Faust Crowd I fall. Valentin (raising himself with an effort ) He fought her lover; Where are we now? Enough! if he should die then she’s to blame! Crowd Mephistopheles Save your breath and spare me your pity! God, in your infinite mercy, forgive him his sins. This is my empire! I’ve turned away the hand of death too many Valentin Down here, my friend, I rule by right, times; 7 Pay heed to my words, Marguerite! so, welcome to Walpurgis Night! now he claims his due! Every creature on earth must meet the dreaded Act V reaper, Voices Marguerite (appearing at the back with Siébel ) Scene 1 Valentin, Valentin! and when he comes, seeking his prey, You’re welcome to Walpurgis Night! (She pushes through the crowd and kneels beside we must bow to our fate; God has ordained the The Walpurgis Night Hoo hoo, hoo hoo! Valentin.) day! Will o’ the Wisps Faust You! Now you run headlong towards perdition, 8 Valentin Over the heather, My blood is frozen! you will forget how to work for your bread! through the marshes, Marguerite, you too? What do you want? Mephistopheles Since you now live for self-gratification, hither and thither (He pushes her away.) You’ll see! I’ll work a transformation; duty and trust, virtue and truth are dead! lightning flashes. Go home! dark to light with one incantation! Go! Oppressed by dishonour Coming and going, Marguerite and beset my remorse! ever quicker, Oh God! Hear this as I leave you: see how the glowing Scene 2 Die! And though God may forgive you, Valentin lanterns flicker. Scene and Chorus you must live with my curse! She’s killed her brother! Beware! They glitter Mephistopheles Though God may forgive you, I fought her lover on copse and cairn, 10 Till the sun awakes in the east, you must live with a brother’s curse! to defend our family name! they glide and flitter with a shimmer of gold and scarlet, Crowd Crowd through field and fen; you’ll revel in private at our feast, She’s to blame! What a vile profanation! blazing reflections, the guest of empresses and harlots. icily cold; Siébel (to Valentin) In your ultimate moment, Chorus unquiet spectres, Spare her, think what you do, Raise our glasses before us wandering souls. you are her brother! and ensure your salvation! to Gods of ages past. Spare her, Forgive her, and your God will have mercy on Faust Let our voices in chorus spare her this bitter pain! you! 9 No further! sing while the revels last! 86 87 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 88

Mephistopheles Faust Faust Scene 5 Royal courtesans, queens in far-off days, Careless love, before your folly …devours the throat that it encloses! Faust Cleopatra the fair, and ravishing Thaïs, passion’s flame burns ever higher Mephistopheles 15 My heart quails at the thought of this meeting! let us all take our place for a while at the feast. free from danger, free from worry. Witchcraft! Oh, what torture! (to Faust ) Nothing can subdue your fire! Oh, source of vain regret and everlasting pain! Come on! Just to ease the torment Divine and potent folly, Faust Lean as a sabre cut, red as the fallen roses! I’ve found her here, at last, that sweet and gentle of your wounded heart. your flame burns ever higher. creature, Drink from this goblet and in a moment Sentimental melancholy Mephistopheles condemned unfeelingly to pine beneath a you’ll feel your former pain depart! drowns in wanton, wild desire! Sorcery! melancholy burden, Chorus Chorus Faust while black despair has disordered her mind… Raise our glasses before us O, careless love! Marguerite! My blood is like ice in my veins! By violent means her child, our wretched child, to Gods of ages past. Mephistopheles and Chorus Bring me to her! Hear and obey! was killed… Let our voices in chorus Her guilt is certain! Marguerite! Marguerite! sing while the revels last! Sentimental melancholy drowns in wanton wild desire! Marguerite (waking) Faust Scene 4 16 Ah! Do I hear my lover’s voice? Vain remorse and shameful delusion! Mephistopheles 13 Intermezzo Hearing him call, my heart wakens to joy! Now my soul must escape your prison! 12 May your elation, O careless love, Come, let us toast the death of my illusion! extinguish all remorse while his heart is in thrall! Prison Scene Faust Marguerite! Drinking Song O careless love, may your elation stifle all remorse (Marguerite is asleep. Faust and Mephistopheles 11 Honeyed nectar, share your pleasure; while his heart is in thrall. enter.) Marguerite let my spirit drink its fill (Faust sees a vision of Marguerite.) Faust (to Mephistopheles) Through the harsh din of the demons’ screeching. and your kisses fiery pressure 14 Go back! His voice reaches my ears, quelling the Devil’s roar! make my blood race faster still. Scene 3 Mephistopheles Faust Entombed in sweetest pleasure It’s almost daylight, the scaffold is prepared; Marguerite! my spirit drinks its fill, Mephistopheles You’re wasting time; she is yours for the taking. Marguerite finding in the witches’ measure What is wrong? They’re all asleep, here are the keys. I see his gentle hand beseeching. dark oblivion distilled! Faust Now only you can save her. She is waiting. Grant me freedom! He is here! I am free! Chorus Are you going blind? I have heard him and seen him once more! Faust Nectar of love! Look: she is there, so pale and silent… Yes, you’re here beloved. Leave us alone! Mephistopheles and Chorus And a crimson thread, half hidden by her hair… The torments I suffered Finding in the witches’ measure Mephistopheles Mephistopheles will not seem so hard! dark oblivion distilled! Illusion! Hurry up! I’ll keep watch at the gate. You come to reclaim me

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and your love will save me. Faust Faust Come! I swear you will not leave me! You’re here, I give you my heart! Come, come Marguerite. Come! Come now Marguerite! or else you will be lost forever! Faust Marguerite Faust Yes, I an here, beloved. No! Marguerite Marguerite! Though hell close above you Faust Angel choirs, bright visions of love, we shall never part! Come, come with me! carry my soul to God above! Marguerite I come to reclaim you Marguerite Dear Father in your mercy receive me! What threat blazes there in your eyes? and my love will save you. No! No, stay beside me! Dear Lord, you are my all, forgive me! Why are your hands dripping with blood? I’m here, I give you my heart! Go! You’re a loathsome sight! Faust Faust (He tries to take her away. She gently avoids his Oh God! Why does she not respond? We must go, come with me! Faust arms.) Scene 6 Marguerite Ah! Marguerite (her mind wandering) Trio Angel choirs, bright visions of love, Mephistopheles Not yet! Here I was walking Mephistopheles carry my soul to God above! Damnation! when you first saw me, 17 Make haste now! Or abandon all hope! Mephistopheles it seems so long ago. Soon the morning will come, bringing the Don’t delay! Apotheosis And there your hand hangman’s rope! almost dared to caress my own. Marguerite Chorus of Angels Marguerite ‘May I presume to ask, most beautiful of ladies, Dear Father, in your mercy receive me! Salvation! Satan’s here… Satan’s here! if you will take my arm and walk with me today?’ You are my all, dear Lord, forgive me! God’s kingdom shall endure! He is there in the shadow. ‘Thank you, no, I am neither a lady nor a Faust Christ Jesus is risen! His eyes like coals devour his face! beauty, Come with me! I claim you for my own! Peace reigns for evermore What can he want? and need no helping hand to guide me on my with our Father in heaven! Cast him out from this place! Mephistopheles Christ Jesus is risen! way.’ You must leave her! Mephistopheles God’s kingdom shall endure! Glimmers of dawn brighten the sky above! Faust The shadows are melting, our horses await, Don’t delay, we have lingered enough. (The prison walls open. The soul of Marguerite is Yes, it lives in my heart! stamping on the cobbles, Follow us! Come, we’ll save you, believe me! transported to Heaven. Faust gazes after her in Come along, we must hurry! they call us to fly, before it’s too late! despair and falls to his knees in prayer. Quick, bring the girl! Marguerite Marguerite Mephistopheles turns away before the glory of the You may still be in time to save her! Angel choirs, bright visions of love etc. Here’s the path where the scented rose archangel’s sword.) filled the air with sweet exhalations. Marguerite Faust Night after night you held me close My God protect me now! Come! Come, trust in my love, © Christopher Cowell beneath the silent constellations. My God, you are my saviour! glimmers of dawn light the sky above! Reprinted by permission 90 91 CHAN 3014 BOOK.qxd 24/7/07 3:01 pm Page 92

Ballet Music 18 1 Dance of the Nubian Slaves – 19 2 Slow Dance – 20 3 Ancient Dance – 21 4 Cleopatra’s Variations – 22 5 Dance of the Trojan Women – 23 6 Mirror Variations – 24 7 Phryne’s Dance Steve Shipman Steve Christian Steiner

Paul Charles Clark Alastair Miles

92 93 CHAN 3014 BOOK.qxd 24/7/07 3:01 pm Page 94 AKG Brian Tarr Brian Mark Douet Mark

Diana Montague Matthew Hargreaves

Mary Plazas Garry Magee Christian Steiner Sarah Walker

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Opera in English on Chandos Opera in English on Chandos

CHAN 3006 CHAN 3013 CHAN 3007 CHAN 3003

CHAN 3010 CHAN 3004

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Opera in English on Chandos Opera in English on Chandos

CHAN 3000(2) CHAN 7023/4 CHAN 3008(2) CHAN 3011(2)

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Paul Charles Clarke as Faust and Janice Watson as Marguerite and Alastair Miles as Mephistopheles in Paul Charles Clarke as Faust in the 1996 Welsh National Opera the 1996 Welsh National Opera production of Gounod’s Faust. production of Gounod’s Faust. Photo by Bill Cooper Photo by Bill Cooper

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You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. E-mail: [email protected] website: www.chandos-records.com Any requests to license tracks from this or any other Chandos discs should be made directly to the Copyright Administrator, Chandos Records Ltd, Chandos House, Commerce Way, Colchester CO2 8HQ, United Kingdom.

Chandos 20-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 20-bit recording. 20-bit has a dynamic range that is up to 24dB greater and up to 16 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

Allen MDS-45 organ supplied by Abinger Organ Hire

Assistant staging manager and language consultant Charles Kilpatrick

Producer Brian Couzens Engineer Ralph Couzens Assistant engineer Richard Smoker Editor Jonathan Cooper Recording venue Blackheath Concert Halls; 27–31 July 1998 Front cover Computer illustration by D.M. Cassidy, from a photo of Alastair Miles as Mephistopheles (see opposite) in the 1996 Welsh National Opera production of Gounod’s Faust. Photo by Bill Cooper Back cover Photo of David Parry Design D.M. Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright Music public domain, words Christopher Cowell P 1999 Chandos Records Ltd C 1999 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU 102 103 CHAN 3014(3)

SOLOISTS/PHILHARMONIA ORCHESTRA/PARRY bass tenor soprano baritone Printed in the EU bass-baritone CHAN 3014(3) mezzo-soprano mezzo-soprano TT 72:23 1999 Chandos Records Ltd. c COMPACT DISC THREE COMPACT 3-disc set 1999 Chandos Records Ltd. p DIGITAL TT 66:27 COMPACT DISC TWO COMPACT (1818–1893) CHANDOS ...... Miles Alastair ...... Mary Plazas , Marguerite’s brother, a soldier...... brother, , Marguerite’s Garry Magee

, a student ...... Hargreaves Matthew , Marguerite’s neighbour, Marguerite’s ...... Walker Sarah TT 69:03

, a village youth, in love with Marguerite in love , a village youth, Montague ...... Diana , a learned doctor ...... Charles Clarke Paul bit 20 Marguerite Charles Gounod Faust acts (with ballet music) in five Opera Carré and Michel Barbier Jules by Libretto Cowell Christopher translation by English Faust Mephistopheles Valentin Siébel Choir Mitchell Geoffrey Orchestra Philharmonia Parry David Wagner Martha COMPACT DISC ONE COMPACT CHANDOS RECORDS LTD. Colchester . Essex . England

GOUNOD: FAUST CHANDOS CHAN 3014 INLAY BACK.qxd 24/7/07 3:03 pm Page 1 24/7/07 3:03 pm INLAY BACK.qxd CHAN 3014