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Home , Alastair Miles, Ava June, Charles Santley, Faust (opera), Kathleen Ferrier, Maria de Rudenz

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CHAN 3089(2) CHANDOS O PERA IN ENGLISH

PETER MOORES FOUNDATION CHAN 3089 BOOK.qxd 21/5/07 5:11 pm Page 2

Charles Gounod (1818–1893)

AKG (abridged)

Opera in five acts by and Michel Carré English translation by Christopher Cowell

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

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

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COMPACT DISC ONE Time Page Time Page

Act I [p. 54] 9 ‘Duty bids me leave this place’ 3:50 [p. 77] 1 Introduction 7:03 [p. 70] Valentin 10 ‘Cheer up, my friends!’ 1:24 [p. 77] Scene 1 35:26 [p. 54] Wagner, Chorus, Mephistopheles 2 ‘Nothing! In vain I have probed’ 6:14 [p. 70] Faust Scene 3 35:26 [p. 54] 3 ‘Lazy little daughter open up your eyes’ 2:55 [p. 70] 11 ‘Pride of place to the golden calf !’ 2:04 [p. 77] Chorus, Faust Mephistopheles, Chorus 4 ‘Can your God help me know the truth?’ 1:21 [p. 71] 12 ‘Your song deserves our thanks!’ 2:47 [p. 78] Faust Chorus, Valentin, Wagner, Mephistopheles, Siébel 13 ‘Though the fiends of hell may defy resistance’ 2:32 [p. 79] Scene 2 35:26 [p. 54] Siébel, Valentin, Wagner, Chorus 5 ‘Here I am! You seem somewhat startled’ 2:50 [p. 71] Mephistopheles, Faust Scene 4 35:26 [p. 54] 6 ‘So bring me the bliss of careless excesses’ 6:45 [p. 72] 14 ‘You haven’t seen the last of me yet!’ 1:33 [p. 79] Faust, Mephistopheles Mephistopheles, Faust

Act II [p. 54] Scene 5 35:26 [p. 54] Scene 1 35:26 [p. 54] 15 ‘Just as when the whispering breezes…’ 1:16 [p. 80] 7 ‘Beer or gin or wine or kvass’ 4:55 [p. 74] Chorus, Mephistopheles, Faust, Siébel Chorus, Wagner 16 ‘May I presume to ask’ 4:03 [p. 80] Faust, Marguerite, Siébel, Mephistopheles, Chorus Scene 2 35:26 [p. 54] 8 ‘Oh, sacred medallion from the sister I love’ 1:45 [p. 76] Valentin, Wagner, Siébel, Chorus

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Time Page COMPACT DISC TWO Time Page

Act III [p. 54] Scene 7 35:26 [p. 54] 17 Entr’acte 1:28 [p. 81] 1 ‘Bless my soul, I’m dreaming!’ 0:47 [p. 85] Martha, Marguerite Scene 1 35:26 [p. 54] 18 ‘You must help me reveal the love I feel’ 2:46 [p. 81] Scene 8 35:26 [p. 54] Siébel 2 ‘Dame Martha Schwerlein, I believe’ 2:29 [p. 85] Mephistopheles, Martha, Marguerite, Faust Scene 2 35:26 [p. 54] 3 ‘Please take my arm, they won’t mind!’ 6:56 [p. 86] 19 ‘Are we there?’ 1:15 [p. 82] Faust, Marguerite, Mephistopheles, Martha Faust, Mephistopheles, Siébel Scene 10 35:26 [p. 54] Scene 3 35:26 [p. 54] 4 ‘And none too soon!’ 1:52 [p. 89] 20 ‘Wait here for a while, Doctor Faust’ 1:03 [p. 82] Mephistopheles Mephistopheles, Faust Scene 11 35:26 [p. 54] Scene 4 35:26 [p. 54] 5 ‘It’s very late… Farewell!’ 7:03 [p. 89] 21 ‘What turbulent feelings possess me?’ 6:44 [p. 83] Marguerite, Faust Faust 6 ‘Marguerite!’ 4:39 [p. 90] Scene 5 Faust, Marguerite 22 ‘Be careful! Here she comes!’ 0:43 [p. 83] Scene 13 35:26 [p. 54] Mephistopheles, Faust 7 ‘Look there! She’s opening her window…’ 4:03 [p. 91] Scene 6 35:26 [p. 54] Mephistopheles, Marguerite, Faust 23 ‘He would have held my hand if I’d only allowed him’ 6:36 [p. 83] 24 ‘A bouquet! It’s from Siébel I’m sure’ 5:22 [p. 84] Marguerite TT 79:33 [p. 85]

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Time Page Time Page

Act IV [p. 54] Scene 7 35:26 [p. 54] Scene 1 35:26 [p. 54] 15 ‘What can I do for you?’ 4:07 [p. 96] 8 ‘They pass me in the street…’ 6:32 [p. 92] Valentin, Mephistopheles, Faust Marguerite, Chorus Scene 8 35:26 [p. 54] 16 Scene 2 35:26 [p. 54] ‘Over here, come at once!’ 1:49 [p. 97] Martha, Chorus, Valentin, Marguerite, Siébel 9 ‘Marguerite!’ ‘Siébel!’ 1:36 [p. 92] 17 ‘Pay heed to my words, Marguerite!’ 5:07 [p. 98] 10 ‘When happy days bring you gladness and laughter’ 4:28 [p. 93] Siébel, Marguerite Valentin, Chorus Act V [p. 54] Scene 4 35:26 [p. 54] Scene 4 11 ‘Come along my brothers’ 3:00 [p. 93] 18 ‘Go back!’ 2:14 [p. 98] Chorus, Valentin, Siébel Faust, Mephistopheles 12 ‘We seek the soldier’s immortal prize’ 3:14 [p. 94] Chorus Scene 5 35:26 [p. 54] 19 ‘My heart quails at the thought of this meeting!’ 2:24 [p. 99] Scene 5 35:26 [p. 54] Faust 13 ‘Come on, Siébel, I need a drink or two!’ 2:10 [p. 94] 20 ‘Ah! Do I hear my lover’s voice?’ 5:24 [p. 99] Valentin, Siébel, Mephistopheles, Faust Marguerite, Faust

Scene 6 35:26 [p. 54] Scene 6 35:26 [p. 54] 14 ‘Is my love awake or sleeping’ 2:51 [p. 95] 21 ‘Make haste now!’ 6:31 [p. 100] Mephistopheles Mephistopheles, Marguerite, Faust, Chorus TT 79:35 [p. 85]

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the famed baritone, so when the first first part of Goethe’s work was aroused by Charles Gounod: Faust performance of the in English was reading Gérard de Nerval’s translation of the planned for the following year, Santley play. He immediately fell in love with it, An old friend of Gounod’s, the Abbé Gay and whenever the opera has been given, which suggested that the composer might write a deciding to turn this ‘fabulous story’ into commented after the 1859 premiere of what has been very often. song for him using a melody that appears in music. His travels in Goethe’s own country, was to become the composer’s most popular First presented at the Théâtre Lyrique as an the Prelude. So it came about that the famous abounding in ancient legends, served to score: ‘The world has got into him and has opéra comique, i.e. with dialogue, in 1859, it baritone was born. The critic Henry strengthen his will. Then he heard Berlioz’s chased out Jesus Christ.’ That is an apt reached the Opéra ten years later when it was Chorley wrote the words: ‘Even bravest heart , which profoundly comment on a composer who found it hard to performed with the Gounod had may swell’ [‘Duty bids me leave this place’ in moved him. However, it did not inhibit his reconcile his twin stars: the love of God and written for a Strasbourg performance in 1860, the present recording]. It was an immediate own wish to set Goethe; quite the contrary, it the love of sensuality, something reflected in and that is the form in which it is usually success, and has been a staple of baritone proved a stimulus. In 1849, he made an early his compositions. His and other presented today. It received its 2000th recitals ever since. attempt at setting the church scene. sacred works are now largely forgotten; his performance there in 1944 and had reached its Sir was one of Faust’s Then he met the writers who were to be the works for the theatre, or at least two of them, 2836th by the time of Jorge Lavelli’s new main advocates, and he made a recording in librettists of Faust, Jules Barbier and Michel Faust and Roméo et Juliette, live on, performed production in 1975, a tribute in itself to its English in 1929, with a cast derived from the Carré, the latter the author of a play Faust et in all operatic capitals. Religious aspirations longevity and popularity. It was first heard in British National Opera Company headed by Marguerite, seen by Gounod in 1850. That began to take a back seat when Gounod met Italy, at , in 1862. Most of the and Miriam Licette, and then provided the basis for the opera’s libretto. , the celebrated singer, who alterations and abridgements made on that recorded it again in the late 1940s in in Barbier reduced the play to just the right had drawn his attention to the opera house. occasion became traditional thereafter, the original language with a French cast. dimensions to suit Gounod. He eliminated or Another commentator, the painter Delacroix including the elimination of the Walpurgis Although it went through something of a conflated characters and incidents, essential averred: ‘A composer writes Faust and that Night scene. trough in popular esteem after that, it has when a play is accommodated to the slower makes him forget all about Hades.’ The battle It was introduced to England in 1863, seldom been out of the repertory of British pace of opera. Only Mephistopheles and some in Gounod’s soul between the sacred and the being given every season until 1911 (much to companies, being presented regularly both at demons remain of supernatural characters. profane is aptly adumbrated in his most the annoyance of Bernard Shaw, who reviled Covent Garden and at Sadler’s Wells (most Siébel is virtually a new creation, shyly and famous opera. He cleverly, though perhaps it), in Italian, then the lingua franca of opera recently at in Ian virtuously in love with Marguerite. Faust’s subconsciously, turned the theatre into the in Britain as elsewhere. For the London Judge’s much-admired staging with John complex psychology is boiled down to a pulpit, adapting his religious style to the premiere at Her Majesty’s Theatre, Sir Charles Tomlinson as Mephistopheles). struggle between lust and pure love. dictates of the theatre. It was a manner that Santley undertook the role of Valentin. During his tenure of the Prix de Rome, Marguerite is simple innocence betrayed and has obviously appealed to the public wherever Gounod attended the performance, meeting from 1839 to 1842, Gounod’s interest in the eventually redeemed. The Prison Scene and

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the closing apotheosis, not in Carré’s play, The first notes of the overture, with the solemn, with a repeated verse, and of Faust’s ternary in terms of melody: the devil may indeed have were added; so was the death of Valentin. majestic chords taken from the Commendatore’s cavatina, ‘Salut, demeure chaste et pure’ the best tune in his insinuating Serenade. Gounod finished composing the opera in final scene seemed to lift me into a new world. (This pure abode of simple virtue) with a Young Siébel is nicely pictured in his little, 1858. It was immediately put into rehearsal at I was chilled by a sensation of actual terror. But modulating middle section. The marching artless solo. Effective as theatre are the Théâtre Lyrique, where Léon Carvalho was when I heard that terrible thundering roll of rhythms that pervade parts of the score Marguerite’s hymn to the evening and Faust’s director. His wife Marie Miolan Carvalho was ascending and descending scales, stern and would not be out of place in Meyerbeer’s part in it at the close of Act III, with the hero to be Marguerite; hence her prominence in the implacable as a death warrant, I was seized with works. returning into her arms, while Mephistopheles score. The premiere had to be postponed such shuddering fear that my head fell on my Yet these aspects of the work would not laughs sardonically offstage, not to forget because the tenor singing Faust lost his voice mother’s shoulder and, trembling in the dual suffice to account for Faust’s immense and Valentin’s death scene and the final trio, which at the dress rehearsal and had to be replaced. embrace of beauty and of horror, I could only continuing popularity. That is explained by a are the very stuff of late-Romantic French The premiere was favourably received, not murmur ‘this is real music indeed!’ gift that is peculiarly Gounod’s. It is the opera. least because of the prima donna’s singing. Thus spoke the future composer of Faust. lyricism found particularly in Faust’s cavatina Nor should one overlook Gounod’s mastery Superior persons have often criticized the Gounod’s score was composed under the and in the extended Garden duet in Act III for of orchestration, most notable in the interplay opera as a travesty of Goethe because its does influence of Meyerbeer, who – we must never Marguerite and Faust, the very heart of the with the voices in the Act III quartet, or indeed not match up to the philosophical challenges forget – was then hugely popular in France. opera, with its sensuous, finely shaped melody. the Soldiers’ Chorus, hackneyed as it may have of the original, which Berlioz and Boito in He was also influenced by Halévy and the No less so is the short, significant scene of the become by being used out of context. It is their Faustian music-dramas come closer to Rossini of the French works written for Paris lovers’ first meeting, gracefully Gallic in timbre highly effective in its place at the start of Act meeting. Gounod was understandably, given at the end of his operatic career, culminating and the already mentioned solo for Valentin, IV. No matter how much it is denigrated, Faust his background, more interested in the moral in Guillaume Tell. Gounod’s style was at the which seems ideally to characterize that works as music-drama. It is also one of the aspect – with Marguerite’s downfall and final time as much admired as that of Verdi and upright fellow. Then there’s Marguerite’s most grateful pieces to sing and Gounod’s redemption through repentance and with Wagner. In England he was seen as anticipatory excitement as disclosed in her music has been graced by virtually all the stars Faust’s doomed attempt to recover his youth Mendelssohn’s true successor. Verdi himself Jewel Song, contrasting with the slightly of opera since it was first staged. In an age in making a pact with the Devil incarnate. His admired Gounod although, perhaps rightly, he antique-sounding, elegiac King of Thulé song. when singable melody in new work is at such a librettists provided him with just the situations missed in his music the fibra drammatica. The The Kermesse waltz, encountered so often premium, Gounod’s gift in that field shines out he needed. work’s very conventionality undoubtedly led to out of context, delicately playing off chorus like a bright beacon. We mock that gift – and At an early age Gounod had been fascinated its quick acceptance, the musical forms being and orchestra, is memorable. Mephistopheles’s indeed the sentiments of an earlier age – at our with a work that tackles the same issue as those that any opera-lover of the day would two solos may not have the subtlety of their peril. Faust, Mozart’s . He declared in have been acquainted with, most notably those counterparts in Berlioz’s setting of Goethe’s his autobiography that: of Mephistopheles’s solos, couplets, that is masterpiece, but are probably more remarkable © 1999

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Synopsis Marguerite, before he goes off to war, 9 and water breaks the curse, and he leaves her a 14 Mephistopheles sings a mocking he asks Siébel to look after his sister while bouquet. 22 Mephistopheles leaves a box of serenade to Marguerite on behalf of Faust. COMPACT DISC ONE he is away. jewels for her. 23 Meanwhile Marguerite sings Valentin rushes out of the house and 10 Wagner tries to cheer things up and an old ballad, 24 and when she finds the demands satisfaction from his sister’s seducer. Act I begins to sing. He is interrupted by jewels and puts them on she sees a different 15 – 16 He and Faust fight and through 1 – 2 Faust, an aged philosopher, sits in his Mephistopheles who sings 11 the Song of the woman in the mirror. Mephistopheles’s intervention Valentin falls, study. He despairs of solving the riddle of the Golden Calf and reads the palms of those mortally wounded. 17 With his dying words universe and, disillusioned, resolves to poison around him; 12 he tells Siébel that every COMPACT DISC TWO Valentin curses Marguerite. himself. 3 As he is about to drink the poison flower he touches will die. Rejecting the he hears the voices of women and farm inferior wine that he is offered by Wagner, 1 Her elderly neighbour Martha comments Act V labourers on their way to work. 4 He curses Mephistopheles causes wine to flow from the that they must be a gift from an admirer. 18 – 19 Marguerite has been imprisoned for life and old age and calls upon the devil to help inn sign, and toasts Marguerite. This angers 2 – 3 Faust and Mephistopheles enter, Faust killing her child, and Faust andMephistopheles him. 5 – 6 Mephistopheles appears and Valentin and both draw their swords. wooing Marguerite and Mephistopheles flirting come to save her. 20 She seems to recognize offers riches and power, but what Faust longs Mephistopheles traces a circle around himself with Martha. Marguerite begins to weaken but Faust and remembers the night when he first for is youth. This Mephistopheles will grant with the point of his sword and when Valentin breaks away from Faust’s embrace and runs back seduced her. 21 Faust encourages her to leave only if Faust signs away his soul. When Faust thrusts his own sword into this circle the blade to her house. 4 – 6 Mephistopheles summons with him, but she prays to God to forgive her. hesitates he is shown a vision of the beautiful shatters. 13 Realizing who his opponent is, up all the intoxicating odours from the night As she dies, Mephistopheles damns her, but Marguerite sitting at her spinning wheel. He Valentin and his friends advance on flowers, 7 and Marguerite opens her window to angelic voices proclaim that she is saved. signs the document, drinks from the goblet Mephistopheles, holding towards him the confess her love for Faust to the night. He which Mephistopheles offers him, and is cross-shaped guards of their swords. emerges from the shadows and she welcomes *** immediately transformed into a young man. 14 Mephistopheles cowers and withdraws. him into her house. Paul Charles Clarke was born in 15 – 16 The crowd gathers for the dance. and studied at the Act II Faust and Mephistopheles enter and see Act IV with Neil Mackie, and was the winner of the 7 There is a gathering outside an inn at one Marguerite. Faust offers her his arm, but she 8 – 10 Marguerite has been abandoned by 1989 Kathleen Ferrier Competition. Roles of the town gates. Students, townsmen, soldiers politely refuses. He is more entranced than ever. Faust and is pregnant with his child. She goes include the Duke () for Scottish and women young and old are gathered, to pray. 11 – 13 The soldiers return with Opera and Seattle Opera; Fenton ( ) in singing joyfully. 8 Marguerite’s brother Act III Valentin, and Siébel tries to persuade him not Japan and at the Festival; High Valentin and his young friend Siébel join the 17 – 21 Siébel gathers flowers for Marguerite, to enter the house. But he pushes Siébel aside Priest of Neptune (), Rodolfo throng. Valentin has been given a medallion by and as prophesied, they wither and die. Holy and enters. (La bohème), Alfredo (La traviata) and the title

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role in Faust for Welsh Juliette), and, for Chandos/Peter Moores Chung, Masur, Gergiev, Gardiner and the Dorabella and the title role in The Cunning National Opera; Foundation Pinkerton (Madam Butterfly). world’s most prestigious orchestras, whilst his Little Vixen (English National Opera); Mimì, Alfredo and Nemorino discography currently stands at an impressive Susanna (Le nozze di Figaro), Tebaldo (Don (L’elisir d’amore) for Alastair Miles, internationally recognised as forty-two including ; Verdi’s Carlos) and Elisetta (Il matrimonio segreto) for Scottish Opera; one of this country’s leading singers, has sung and Handel’s Saul and Agrippina. ; Donna Elvira (Glyndebourne Rodolfo and Dmitri at the Metropolitan In 2000 he performed his debut UK recital Touring Opera); Anne Trulove (New Israeli (Boris Godunov) for Opera House (Giorgio with Roger Vignoles. Other recordings Opera and Opera Factory); and Echo (Ariadne Opera North; Froh in I Puritani and include, for Chandos/Peter Moores auf Naxos) and Madame Silberklang ( ), Cassio Raimondo in Lucia di Foundation, La bohème and a recital disc of () for Garsington Opera. (), Tybalt (Roméo Lammermoor); Opera Great Operatic , and for In 1996 she made her debut at the BBC et Juliette) and Alfredo National de Paris- Medea in Corinto, , Rosmonda Promenade Concerts with as for The Royal Opera. Internationally his roles Bastille (Raimondo); d’Inghilterra, Ricciardo e Zoraide and Maria the Heavenly Voice, and in 1997 performed have included Anatol (Vanessa), Rodolfo and Vienna (La Juive and regina d’Inghilterra. with The Royal Opera at Covent Garden and Alfredo for Seattle Opera; Alfredo in Giorgio); San the , New York in Cincinnati; Jenik () and Francisco (Giorgio, Mary Plazas studied Pfitzner’s Palestrina. She created the role of Romeo (Roméo et Juliette) for the Metropolitan Raimondo, and Basilio with Ava June at the Tina in Jonathan Dove’s Flight for Opera, New York; Pinkerton (Madama in Il barbiere di Siviglia); Amsterdam (Figaro Royal Northern College Glyndebourne Touring Opera, repeating the Butterfly) for Houston ; Macduff in Le nozze di Figaro); Teatro Real, Madrid of Music, where she was role for Glyndebourne Festival Opera. She () for Monte Carlo, and the title role (Philip II in ); English National supported by the Peter sang the Duchess in Thomas Adès’s Powder her in Faust for the Minnesota and Cincinnati Opera (the title role in Mephistopheles, Moores Foundation and Face by for Almeida Opera and at the opera companies. Zaccaria in ); and the Royal Opera, the Countess of Aldeburgh Festival, and also recorded the role Concert appearances include a European Covent Garden (Elmiro in Otello and Frère Munster Musical Trust. for Channel 4 television. In summer 2001 she Tour with the Orchestra of the Age of Laurent in Roméo et Juliette). His first Fiesco She made her operatic made her debut at the Bregenz Festival as Enlightenment and Sir in (Simon Boccanegra) was a great success, with debut in 1992 with Mimì, returning in the role in 2002. performances of Beethoven 9 (which he has previous Verdian portrayals earning equal English National Opera Mary Plazas has given many recitals and also sung with the Scottish Chamber acclaim. as the Heavenly Voice (Don Carlos), and is concerts including solo recitals at the Wigmore Orchestra), and Mendelssohn’s Elijah under His highly successful concert career takes currently a company principal. Roles have Hall, Purcell Room, and the Karajan Centre in Andrew Davis in Rome. him worldwide to perform with leading included Mimì, Leila, Adina, Nannetta, Vienna. She has also performed at the Recordings include Tybalt (Roméo et conductors such as Giulini, Mehta, Muti, Micaëla, Marzelline (), Lauretta, Oscar, Cheltenham, Aldeburgh and Chester Festivals.

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Concerts include Haydn’s Creation, Tippett’s Operatic appearances include The Royal Diana Montague operatic arias (for Chandos/Peter Moores A Child of our Time, Mahler’s Symphony No. Opera, Covent Garden (Guglielmo in Così fan studied at the Royal Foundation). 8, Mozart’s Requiem, Brahms’s German tutte and Prince Afron in Le Coq d’or); Opera Northern College of Requiem, Shostakovich’s Symphony No 14, North (Guglielmo in Così fan tutte and Music. Since her Matthew Hargreaves Beethoven’s Symphony No. 9 and Saint-Saëns’s Schaunard in La bohème); English National debut as Zerlina with studied at the The Promised Land. Opera (Dancairo in ); the Almeida Glyndebourne Guildhall School of Recordings include Mercadante’s Emma Festival, and the Teatro Municipal in Santiago. Touring Opera she Music and Drama d’Antiocchia, and Pacini’s Maria Regina He has also made a number of acclaimed has appeared in the with Rudolph Piernay, d’Inghilterra (both for Opera Rara), Dido and debuts: with La Monnaie as Malatesta world’s leading opera and won the Decca Aeneas for Chandos, L’Enfant et les sortilèges, () and Dandini (), houses and concert Prize in the 1997 and, for Chandos/Peter Moores Foundation, with Flanders Opera as Yeletsky (Pique Dame), halls including Kathleen Ferrier Marguerite in Faust, Adina, Zerlina and and with the Glyndebourne Festival Opera the Royal Opera Covent Garden, The Award Compteition. Micaela. as the Steward (Flight), as well as the title Metropolitan Opera in New York, the Théâtre His roles include roles in Don Giovanni for Opera North royal de la Monnaie in Brussels, the Opéra Figaro, Dandini (La Cenerentola), Escamillo Garry Magee is rapidly and Pelléas and Mélisande for English National national de Paris-Bastille, Teatro Colon in (Carmen) at the , Fiorello emerging as one of the Opera. Buenos Aires and the Bayreuth and Salzburg (Il barbiere di Siviglia) for English Touring outstanding vocal and An established concert artist, Garry Magee Festivals. Opera, and Leporello for Opera Atlelier in dramatic talents of his has appeared in recital at the Wigmore Hall, Engagements have included Iphigénie en Toronto. He has also appeared with Welsh generation. He was the the Théâtre du Châtelet and at the Aix-en- Tauride (in Buenos Aires, Madrid and with National Opera, Opera Holland Park and at first-prize winner of the Provence Festival. He has sung with the Irish ), Le Comte Ory (in the Covent Garden Festival. Recordings prestigious Kathleen Chamber Orchestra, the Lausanne, Rome and Glyndebourne), include the Abbot (Curlew River) and for Ferrier Award in 1995 Contemporary Music Group, the Orchestra of and Gluck’s Orfeo ed Opera Rara, Rambaldo (Maria di Rudenz) and and a Prize-winner in the Komische Opera, the Philharmonia Euridice (Glyndebourne), and Ariadne auf Ali (). the 1996 International Orchestra, the London Symphony Orchestra Naxos in Lisbon. Diana Montague’s many Belvedere Competition and the Stavanger Symphony Orchestra. recordings include I Capuleti e i Montecchi, The mezzo-soprano Sarah Walker has enjoyed in Vienna. He is a graduate of the Guildhall Recordings includes the title role in Don Norma, , Iphigénie en an outstanding career as a singer in recital and School of Music and Drama and the National Giovanni for Chandos/Peter Moores Tauride, Il crociato in Egitto (for Opera Rara) opera and has appeared at festivals, concert halls Opera Studio, and currently studies with Foundation, and John Adams’s The Wound as well as Cavalleria rusticana, highlights from and opera houses throughout Europe, North Robert Dean. Dresser. Der Rosenkavalier and two recital discs of America, Australia and New Zealand with

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many of the world’s the BBC led to a wider involvement with his London where it is Resident Orchestra at the Ford, Diana Montague, Dennis O’Neill, Alastair most distinguished own singers and in turn to the establishment , but also in the wider Miles, , Andrew Shore and two conductors, singers and of the Geoffrey Mitchell Choir. Early community through regional residencies. with John Tomlinson.) accompanists. Her recordings resulted in the Choir’s long-term The Orchestra has received several major operatic repertoire involvement with Opera Rara for which it has awards and won critical acclaim for its vitality David Parry studied ranges from Claudio made over thirty recordings. The Choir is and unique warmth of sound. It has been with Monteverdi (Il ritorno enjoying a growing reputation with further praised as well for its innovative programming, and began his career as d’Ulisse in patria and work from the BBC and international at the heart of which is a commitment to Sir John Pritchard’s L’incoronazione di recording companies. For Chandos the performing and commissioning new music by assistant. He made his Poppea) and Francesco Geoffrey Mitchell Choir has participated in the world’s leading living composers, among debut with English Cavalli (La Calisto) to Sir Peter Maxwell Davies numerous recordings in the acclaimed Opera them its current Visiting Composer James Music Theatre, then (Taverner) and Aulis Sallinen (The King Goes in English series sponsored by the Peter MacMillan. became a staff conductor Forth to France). She is closely associated with Moores Foundation. The Orchestra tours frequently abroad and is at Städtische Bühnen The Royal Opera, Covent Garden and has the world’s most recorded symphony orchestra Dortmund and at performed frequently also with English From auspicious beginnings in 1945, when it with well over 1000 releases to its credit. Among Opera North. He was National Opera. Her numerous recordings was established by primarily as a these are, for Opera Rara, several discs of Music Director of Opera 80 from 1983 to 1987 reflect the vast range of her repertoire and recording orchestra, the Philharmonia operatic arias as well as eleven complete and since 1992 has been the founding Music includes, on Chandos, music by Manuel de Orchestra went on to attract some of the (Donizetti’s Ugo, conte di Parigi, Ne m’oubliez Director of Almeida Opera. Falla and Mozart as well as Julius Caesar (in twentieth century’s greatest conductors. pas, Emilia di Liverpool, L’assedio di Calais, He works extensively in both opera and association with the Peter Moores Foundation). Associated most closely with the Orchestra Rosmonda d’Inghilterra and , concert, nationally and internationally. He has Sarah Walker received a CBE in the 1991 have been (first Principal Meyerbeer’s , Mayr’s Medea in Corinto, conducted several productions at English Queen’s Birthday Honours List. Conductor), Lorin Maazel, , Mercadante’s Orazi e Curiazi, Pacini’s Maria, National Opera and appears regularly with the Giuseppe Sinopoli, , Sir regina d’Inghilterra and Rossini’s Otello). Philharmonia Orchestra. In 1996 he made his Geoffrey Mitchell’s singing career has Andrew Davis, and Esa- The Orchestra has recorded numerous discs debut at the Glyndebourne Festival with Così encompassed a remarkably wide repertoire Pekka Salonen. Under current Principal for Chandos including, in the Opera in fan tutte, where in 1998 he conducted the from early to contemporary music and has Conductor Christoph von Dohnanyi and with English series sponsored by the Peter Moores world premiere of Jonathan Dove’s Flight. taken him to Scandinavia, Germany, the Leonard Slatkin as Principal Guest Conductor Foundation, The Elixir of Love, Faust, He is a frequent visitor to Spain where he former Czechoslovakia, Canada and the Orchestra has consolidated its central La bohème, the award-winning Tosca and eight has given concerts with most of the major Australasia. Early conducting experience with position in British musical life, not only in solo recital albums of operatic arias (with Bruce Spanish orchestras. He conducted the Spanish

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premiere of in Madrid and in Moores Foundation. Among these are Paul Charles Clarke as Faust and Alastair Miles as 1996 the first Spanish production of The numerous discs for the Opera Rara label Mephistopheles in Welsh National Opera’s Rake’s Progress. He has appeared in Germany, which have won several awards, including the production of Gounod’s Faust Photo by Bill Cooper Sweden, The Netherlands, at the Pesaro Belgian Prix Cecilia for Donizetti’s Rosmonda Festival in Italy, the Hong Kong International d’Inghilterra. For Chandos he has conducted Festival, in Japan with a tour of Carmen and nine recordings of operatic arias (with Bruce in Mexico with the UNAM Symphony Ford, Diana Montague, Dennis O’Neill, Orchestra. Recent new productions he has Alastair Miles, Yvonne Kenny, John conducted include Fidelio at the New Zealand Tomlinson, Andrew Shore and ), as Festival, at Theater Basel well as Lucia of Lammermoor, Aida, Faust, and Lucia di Lammermoor at New Israeli Don Giovanni, , Don Pasquale, Opera. The Elixir of Love, La bohème, Cavalleria His work in the recording studio includes rusticana, Pagliacci, the award- the BBC Television production of Marschner’s winning Tosca and highlights from Der Vampyr and twenty-one complete opera Der Rosenkavalier, all in association with the recordings under the sponsorship of the Peter Peter Moores Foundation.

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Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – , and the late Geraint Evans amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Peter Moores was born in , the son of Sir John Moores, founder of the giant inheritance to establish the Peter Moores Foundation, a charity designed to support those Littlewoods mail order, chain store and football pools group. He was educated at Eton and causes dear to his heart: to make music and the arts more accessible to more people; to give Christ Church, Oxford, where he read modern languages – he was already fluent in German encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the Vienna State Opera, combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare from the era of the early nineteenth century Britten’s , had worked as Assistant Producer (repertoire which would otherwise only be accessible to scholars); the nurturing of at the San Carlo Opera House, Naples, the Geneva Festival and promising young opera singers; new operatic work. Rome Opera, and seemed set for a successful operatic career. At The Foundation awards scholarships annually to students and post-graduates for furthering this point he received a letter from his father asking him to their vocal studies at the Royal Northern College of Music. In addition, project awards may be

come home as he was needed in the firm. Family loyalty being Cooper/PMF Bill given to facilitate language tuition in the appropriate country, attendance at masterclasses or paramount, he returned to Liverpool. summer courses, specialised repertoire study with an acknowledged expert in the field, or From 1981 to 1983 he was a Governor of the BBC, and post-graduate performance training. a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received publication of scores and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford, in 1975, and was made these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera an Honorary Member of the Royal Northern College of to the full, there must be no language barrier, particularly for newcomers and particularly in the Music in 1985. In May 1992 he became Deputy Lieutenant popular repertoire – hence the Opera in English series launched with Chandos in 1995. This of Lancashire, and in the New Year’s Honours List for 1991, includes many of the English language recordings funded by the Foundation in the 1970s and he was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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gespielt (sehr zum Ärger von Bernard Shaw, Originalsprache und mit einer französischen Charles Gounod: Faust der sie abscheulich fand), und zwar in Besetzung. Obwohl ihr Ansehen beim italienischer Sprache, der lingua franca der Publikum danach ein wenig ins Hintertreffen Ein alter Freund Gounods, der Abbé Gay, treffend umrissen. Er verwandelte geschickt, Oper in Großbritannien und anderswo. Bei geriet, hat sie ihren Platz im Repertoire bemerkte 1859 im Anschluß an die wenn auch vielleicht unbewußt das Theater in der Londoner Premiere an Her Majesty’s britischer Ensembles kaum einmal verloren, Uraufführung der Oper, die das populärste eine Kanzel und paßte sich mit seinem Theatre übernahm Sir die sondern wurde regelmäßig nicht nur in Werk des Komponisten werden sollte: “Die sakralen Stil dem Diktat der Bühne an. Dieser Rolle des Valentin. Gounod besuchte die Covent Garden, sondern auch am Sadler’s Welt ist in ihn eingedrungen und hat Jesus Stil hat offenbar das Publikum angesprochen, Vorstellung und lernte den berühmten Bariton Wells Theatre aufgeführt (zuletzt von der Christus verscheucht.” Das ist eine passende wo und wann immer das Werk gespielt wurde, kennen. Als dann für das folgende Jahr die English National Opera in der Bemerkung über einen Komponisten, dem es und das ist sehr oft geschehen. erste Aufführung der Oper in englischer vielbewunderten Inszenierung von Ian Judge schwerfiel, seine beiden Leitsterne miteinander Es wurde 1859 zunächst am Théâtre-Lyrique Sprache angesetzt wurde, schlug Santley vor, mit John Tomlinson als Mephistopheles). zu versöhnen – die Liebe zu Gott und die als opéra comique, also mit Dialogen aufgeführt der Komponist solle unter Verwendung einer Als Stipendiat des Prix de Rome von 1839 Liebe alles Sinnlichen –, die sich in seinen und gelangte erst zehn Jahre später an die Melodie, die im Vorspiel vorkommt, eine bis 1842 wurde Gounods Interesse am ersten Kompositionen widerspiegeln. Seine Oratorien Opéra; dort wurde es mit den Rezitativen Gesangsnummer für ihn schreiben. So Teil von Goethes Werk dadurch geweckt, daß und sonstigen Sakralwerke sind heute im aufgeführt, die Gounod für eine Straßburger erblickte die bekannte Bariton-Kavatine das er Gérard de Nervals Übersetzung des wesentlichen vergessen; seine Werke für die Aufführung im Jahr 1860 geschrieben hatte, Licht der Welt. Der Kritiker Schauspiels las. Er verliebte sich augenblicklich Bühne oder wenigstens zwei davon, Faust und und in dieser Form wird es heute gewöhnlich schrieb den Text: “Even bravest heart may in das Stück und beschloß, diese “fabelhafte Roméo et Juliette, leben weiter und werden in dargeboten. Die 2000. Vorstellung fand dort swell” [“Duty bids me leave this place” auf Geschichte” in Musik umzusetzen. Seine Reise allen Opernmetropolen aufgeführt. Gounods 1944 statt, die 2836. um die Zeit von Jorge dieser Aufnahme]. Das Stück war ein in Goethes Heimatland mit seiner Fülle alter religiöse Bestrebungen traten in den Lavellis Neuinszenierung 1975 – positives unmittelbarer Erfolg und gehört seither zum Legenden bestärkte ihn in seinem Vorhaben. Hintergrund, als er Pauline Viardot Zeugnis für seine Langlebigkeit und festen Programm von Bariton-Recitals. Dann hörte er Berlioz’ La damnation de Faust, kennenlernte, die gefeierte Sängerin, die seine Popularität. In Italien, an der Mailänder Scala, Sir Thomas Beecham war einer der das ihn tief berührte. Sein Wunsch, Goethe zu Aufmerksamkeit auf das Opernhaus lenkte. war das Werk erstmals 1862 zu hören. Die Hauptbefürworter des Faust und nahm 1929 vertonen, wurde durch das Erlebnis nicht Ein anderer Kommentator, der Maler meisten Änderungen und Kürzungen, die bei eine Einspielung in englischer Sprache vor, mit gemindert; ganz im Gegenteil, es erwies sich Delacroix, behauptete: “Ein Komponist dieser Gelegenheit vorgenommen wurden, sind einer Besetzung aus Ensemblemitgliedern der als Anreiz. 1849 unternahm er einen ersten schreibt Faust und vergißt prompt alles, was seither Tradition geworden, darunter auch die British National Opera Company unter der Versuch, die Domszene zu komponieren. den Hades betrifft.” Der Kampf zwischen dem Streichung der Walpurgisnachtszene. Führung von Heddle Nash und Miriam Dann lernte er die Dichter Jules Barbier Sakralen und dem Profanen, der in Gounods In England wurde die Oper 1863 Licette, und nahm die Oper Ende der vierziger und Michel Carré kennen, die späteren Seele tobt, wird in seiner bekanntesten Oper eingeführt und danach jede Saison bis 1911 Jahre erneut auf, diesmal in Frankreich, in der Librettisten des Faust. Carré war der Verfasser

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eines Stücks mit dem Titel Faust et Marguerite, werden mußte. Die Uraufführung wurde Tonleitern vernahm, hart und unerbittlich wie insbesondere für die Soli und Couplets des das Gounod 1850 auf der Bühne sah. Es wohlwollend aufgenommen, nicht zuletzt dank ein Hinrichtungsbefehl, wurde ich von einer Mephistopheles mit wiederholten Zeilen und lieferte die Grundlage für das Libretto der der Gesangsleistung der Primadonna. solch schauderhaften Angst erfaßt, daß mein für dreiteilige Cavatine “Salut, demeure Oper. Barbier kürzte das Stück auf genau den Überhebliche Menschen haben der Oper oft Kopf an die Schulter meiner Mutter sank und chaste et pure” (This pure abode of simple Umfang ein, der Gounod zusagte. Er strich vorgeworfen, sie sei ein Zerrbild von Goethes ich bebend in der zweifachen Umarmung von virtue) mit ihrem modulierenden Mittelteil. oder verschmolz Figuren und Ereignisse – Original, da sie den dort aufgeworfenen Schönheit und Entsetzen nur zu raunen Die Marschrhythmen, die streckenweise die unverzichtbar, wenn ein Stück dem philosophischen Fragen nicht gerecht wird, vermochte: “Das ist in der Tat wahrhaftige Partitur erfüllen, wären in Meyerbeers Werken langsameren Voranschreiten der Oper was Berlioz und Boito in ihren Musikdramen Musik!” auch nicht fehl am Platz. angepaßt wird. Nur Mephistopheles und zum Faust-Thema eher gelingt. Gounod war So sprach der künftige Komponist des Faust. Und dennoch würden diese Aspekte des einige Geistererscheinungen sind von den in Anbetracht seiner Vorgeschichte Gounods Komposition stand unter dem Werks nicht ausreichen, um die immense und übernatürlichen Figuren geblieben. Siébel ist verständlicherweise mehr am moralischen Einfluß von Meyerbeer, der – das dürfen wir nach wie vor andauernde Beliebtheit von Faust im Grunde eine Neuschöpfung, zaghaft und Aspekt interessiert – an Marguerites nie vergessen – damals in Frankreich zu begründen. Die erklärt sich aus einer virtuos in Marguerite verliebt. Fausts Untergang und abschließenden Erlösung ungeheuer populär war. Außerdem ließ er sich besonderen Gabe Gounods, dem lyrischen komplexe Psyche wird auf das Ringen durch Reue sowie an Fausts mißlungenem von Halévy beeinflussen, und von Rossinis Gepräge, das er vor allem Fausts Cavatine zwischen Lust und reiner Liebe verkürzt. Versuch, seine Jugend zurückzugewinnen, französischen Werken, die dieser am Ende verleiht, und dem langen Gartenduett im Marguerite ist ganz schlichte Unschuld, die indem er mit dem Teufel in Menschengestalt seiner Opernkarriere für Paris geschrieben III. Akt für Marguerite und Faust, das mit betrogen und schließlich gerettet wird. Die einen Pakt schließt. Gounods Librettist lieferte hatte und die in Guillaume Tell gipfelten. seiner sinnlichen, raffiniert angelegten Melodie Kerkerszene und die Apotheose zum Schluß, ihm genau die Situationen, die er brauchte. Gounods Stil wurde zu jener Zeit ebenso das eigentliche Herzstück der Oper ist. Nicht die in Carrés Stück nicht vorkommen, wurden Schon in jungen Jahren hatte sich Gounod bewundert wie der von Verdi und Wagner. weniger lyrisch sind die kurze, bedeutsame hinzugefügt, ebenso der Tod Valentins. für ein Werk begeistert, das die gleiche In England sah man ihn als den wahren Szene mit der ersten Begegnung der Gounod beendete die Komposition der Oper Thematik behandelt wie Faust: Mozarts Nachfolger Mendelssohns. Verdi selbst Liebenden, die vom Timbre her reizvoll 1858. Man fing am Théâtre-Lyrique, wo Léon Don Giovanni. In seiner Autobiographie legte bewunderte Gounod, auch wenn er – gallisch ist, und das bereits angesprochene Solo Carvalho Direktor war, sogleich mit den Proben er dar: vielleicht zu Recht – in seinem Schaffen die für Valentin, das diesen rechtschaffenen an. Seine Gemahlin Marie Miolan Carvalho Die ersten Noten der Ouvertüre mit den fibra drammatica vermißte. Gerade der Burschen ideal zu charakterisieren scheint. sollte die Marguerite geben, deshalb steht sie in feierlichen, majestätischen Akkorden aus der konventionelle Charakter des Werks hat Dann wäre da noch Marguerites Vorfreude, der Partitur so sehr im Vordergrund. Die letzten Szene des Komturs schienen mich in eine zweifellos zu seiner raschen Annahme geführt, die sich in ihrer Juwelenarie offenbart und im Premiere mußte verschoben werden, weil der neue Welt zu versetzen. Ein Gefühl echten denn die verwendeten musikalischen Formen Kontrast zu dem leicht altertümlich Tenor, der den Faust sang, auf der Grauens ließ mich frösteln. Als ich jedoch das sind solche, mit denen seinerzeit jeder klingenden elegischen Lied vom König in Kostümprobe die Stimme verlor und ersetzt furchtbare Donnergrollen auf- und absteigender Opernliebhaber vertraut war; das gilt Thulé steht.

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Der Kirmeswalzer, dem man so oft aus dem IV. Akts ist er äußerst wirkungsvoll. Man mag fordert den Teufel auf, ihm zu helfen. Umstehenden aus der Hand liest. 12 Zu Siebel Zusammenhang gerissen begegnet und der dieses Werk noch so sehr verunglimpfen: Faust 5 – 6 Mephistopheles erscheint und bietet sagt er, daß jede Blume, die er anrühre, feinfühlig Chor und Orchester gegeneinander erfüllt als musikalisches Drama seine Funktion. ihm Reichtum und Macht an, doch wonach sterben werde. Mephistopheles lehnt den ausspielt, ist denkwürdig. Die beiden Soli von Außerdem ist es für Sänger eines der Faust sich sehnt ist Jugend. Die aber ist minderwertigen Wein ab, den ihm Wagner Mephistopheles mögen nicht so raffiniert sein dankbarsten Werke, und Gounods Musik Mephistopheles nur zu gewähren bereit, wenn anbietet, läßt selber Wein aus dem wie ihre Entsprechung in Berlioz’ Vertonung wurde seit der ersten Inszenierung von Faust ihm seine Seele verschreibt. Als Faust Wirtshausschild fließen, und trinkt Marguerite von Goethes Meisterwerk, sind jedoch praktisch allen Opernstars beehrt. In einer Zeit, zögert, wird ihm eine Vision der schönen zu. Das erbost Valentin, und beide zücken ihre wahrscheinlich von der Melodik her da singbare Melodien in neuen Werken so rar Marguerite gezeigt, wie sie an ihrem Spinnrad Degen. Mephistopheles zieht mit der bemerkenswerter: Es könnte durchaus sein, sind, erstrahlt Gounods Fähigkeit auf diesem sitzt. Er unterschreibt den Vertrag, trinkt aus Degenspitze einen Kreis um sich, und als daß der Teufel mit dieser schmeichlerischen Gebiet wie ein Fanal. Sich über diese Fähigkeit dem Becher, den Mephistopheles ihm reicht, Valentin mit seiner Klinge in diesen Kreis Serenade den anderen die beste Melodie – und auch sonst über die Empfindsamkeiten und verwandelt sich augenblicklich in einen vordringt, zersplittert sie. 13 Valentin und weggeschnappt hat. Der junge Siébel wird in einer vergangenen Epoche – lustig zu machen, jungen Mann. seine Freunde, die erkannt haben, mit wem sie seinem kurzen, schmucklosen Solo kann leicht auf einen selbst zurückfallen. es zu tun haben, dringen auf Mephistopheles befriedigend dargestellt. Bühnenwirksam sind II. Akt ein und halten ihm die kreuzförmigen Griffe Marguerites Hymne an den Abend und Fausts © 1999 Alan Blyth 7 Vor einer Schenke an einem der Tore der ihrer Degen entgegen. 14 Mephistopheles Anteil daran am Schluß des III. Akts, wo der Stadt herrscht reges Treiben. Studenten, duckt sich und entweicht. Held in ihre Arme zurückeilt, während Inhaltsangabe Bürger, Soldaten und Frauen jeden Alters 15 – 16 Die Menge schreitet zum Tanz. Mephistopheles hinter der Bühne höhnisch haben sich dort vesammelt und singen ein Faust und Mephistopheles erscheinen und lacht. Und Valentins Todesszene und das COMPACT DISC ONE fröhliches Lied. 8 Marguerites Bruder sehen Marguerite. Faust bietet ihr seinen Arm abschließende Trio – beide sind der Inbegriff Valentin und dessen junger Freund Siébel an, doch sie weist ihn höflich zurück. Er ist der spätromantischen französischen Oper – I. Akt mischen sich unter die Leute. Valentin, der im von ihr nur umso mehr entzückt. dürfen auch nicht in Vergessenheit geraten. 1 – 2 Faust, ein alternder Philosoph, sitzt in Begriff steht, in den Krieg zu ziehen, hat von Ebensowenig sollte Gounods meisterhafte seinem Studierzimmer. Er verzweifelt an dem Margarethe ein Medaillon erhalten. 9 Er III. Akt Orchestrierung übersehen werden, vor allem im Unterfangen, das Rätsel des Universums zu bittet Siébel, seine Schwester zu beschüzen, 17 – 21 Siébel pflückt Blumen für Marguerite, Zusammenspiel mit den Gesangsstimmen im lösen, und beschließft desillusioniert, sich zu während er fort ist. die wie vorhergesagt verwelken und sterben. Quartett des III. Akts, oder gar der vergiften. 3 Er schickt sich an, das Gift zu 10 Wagner bemüht sich, sie aufzuheitern, Weihwasser hebt den Fluch auf, und er gibt Soldatenchor, obwohl dieser so oft aus dem trinken, als er Frauenstimmen und eine Schar und hebt zu singen an. Er wird von einen Strauß für sie ab. 22 Mephistopheles Zusammenhang gerissen wurde, daß er sich Knechte auf dem Weg zur Arbeit hört. 4 Er Mephistopheles unterbrochen, 11 der das Lied dagegen hinterläßt eine Schatulle mit abgenutzt hat. An seinem Platz am Anfang des verflucht das Leben und das Greisenalter und vom Goldenen Kalb singt und den Schmuck für sie. 23 Derweil singt Marguerite

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eine alte Ballade, 24 und als sie den Schmuck 14 Mephistopheles bringt Marguerite der Scottish Opera und Seattle Opera, Fenton Alastair Miles, der international als einer der findet und anlegt, erblickt sie vor sich im stellvertretend für Faust eine spöttische (Falstaff ) in Japan und bei den Edinburgher führenden Sänger Großbritanniens anerkannt Spiegel eine verwandelte Frau. Serenade dar. Valentin stürmt aus dem Haus Festspielen; der Oberpriester Poseidons ist, hat am Metropolitan Opera House und verlangt Genugtuung vom Verführer (Idomeneo), Rodolfo (La bohème), Alfredo (Giorgio in I puritani und Raimondo in Lucia seiner Schwester. 15 – 16 Er und Faust (La traviata) und die Titelrolle in Faust an der di Lammermoor) gesungen, an der Opéra COMPACT DISC TWO duellieren sich, und Mephistopheles sorgt Welsh National Opera; Alfredo und Nemorino National de Paris-Bastille (Raimondo), in dafür, daß Valentin tödlich verletzt zu Boden (L'elisir d'amore) an der Scottish Opera; Rodolfo Wien (in La Juive und Giorgio), in San 1 Ihre alte Nachbarin Martha meint, es müsse sinkt. 17 Sterbend belegt Valentin Marguerite und Dmitri (Boris Godunov) an der Opera Francisco (Giorgio, Raimondo, sowie Basilio sich um das Geschenk eines Bewunderers mit einem Fluch. North; Froh (Das Rheingold ), Cassio (Otello), in Il barbiere di Siviglia), in Amsterdam handeln. Tybalt (Roméo et Juliette) und Alfredo an der (Figaro in Le nozze di Figaro), am Teatro Real 2 – 3 Faust und Mephistopheles treffen V. Akt Royal Opera. International gastierte er als in Madrid (Philipp II. in Don Carlos), an der ein; Faust umwirbt Marguerite, während 18 – 19 Marguerite sitzt im Kerker, weil sie Anatol (Vanessa), Rodolfo und Alfredo an der English National Opera (die Titelrolle von Mephistopheles mit Martha schäkert. ihr Kind getötet hat; Faust und Seattle Opera; Alfredo in Cincinnati, Jenik Mephistopheles, Zaccaria in Nabucco) und an Margarethe ist drauf und dran, schwach zu Mephistopheles kommen, um sie zu retten. (Die verkaufte Braut) und Romeo (Roméo et der Royal Opera, Covent Garden (Elmiro in werden, reißt sich jedoch von Faust los und eilt 20 Es hat den Anschein, als würde sie Faust Juliette) an der Metropolitan Opera in New Otello und Frère Laurent in Roméo et Juliette). zurück zu ihrem Haus. 4 – 6 Mephistopheles wiedererkennen, und sie gedenkt der Nacht, in York; Pinkerton (Madama Butterfly) an der Sein erster Fiesco (Simon Boccanegra) war ein beschwört die berauschenden Düfte nächtlicher der er sie verführt hat. 21 Faust redet ihr zu, Houston Grand Opera; Macduff (Macbeth) in ebenso großer Erfolg wie auch schon seine Blüten herauf, 7 und Marguerite öffnet ihr mit ihm fortzugehen, doch sie bittet Gott um Monte Carlo sowie in der Titelrolle von Faust in vorausgegangenen Verdi-Darbietungen. Fenster, um der Nacht ihre Liebe zu Faust zu Vergebung. Als sie stirbt, verflucht Minnesota und Cincinnati. Zu seinen Seine höchst erfolgreiche Karriere als gestehen. Da tritt er aus dem Dunkel hervor, Mephistopheles sie, doch da verkünden Konzertauftritten gehören eine Europatournee Konzertsänger führt ihn rund um die Welt, und sie gewährt ihm Einlaß ins Haus. himmlische Stimmen, daß sie erlöst ist. mit dem Orchestra of the Age of Enlightenment um mit führenden Dirigenten wie Giulini, und Sir Simon Rattle (Beethovens Neunte, die Mehta, Muti, Chung, Masur, Gergiew, IV. Akt Übersetzung: Anne Steeb/Bernd Müller er auch mit dem Scottish Chamber Orchestra Gardiner und mit dem renommiertesten 8 – 10 Marguerite ist von Faust verlassen gesungen hat) und Mendelssohns Elijah unter Orchestern der Welt aufzutreten, während worden, und sie erwartet sein Kind. Sie geht Paul Charles Clarke wurde in Liverpool Andrew Davis in Rom. seine Diskographie derzeit eindrucksvolle zum Gebet. 11 – 13 Valentin und die übrigen geboren, studierte am Royal College of Music In Schallplattenaufnahmen hat er Tybalt zweiundvierzig Titel umfaßt, darunter Elias, Soldaten kehren heim; Siebel versucht ihn bei Neil Mackie und ging 1989 als Sieger aus (Roméo et Juliette) sowie für Chandos/Peter Verdis Requiem sowie Händels Saul und vom Betreten des Hauses abzuhalten, doch er dem Kathleen Ferrier Wettbewerb hervor. Zu Moores Foundation Pinkerton (Madam Agrippina. Im Jahr 2000 gab er sein britisches schiebt Siebel beiseite und geht hinein. seinen Rollen gehören der Herzog (Rigoletto) an Butterfly) gesungen. Recitaldebüt mit Roger Vignoles. Für

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Chandos und die Peter Moores Foundation Stimme vom Himmel, und 1997 trat sie an et les sortilèges und, für Chandos/Peter Moores North und Pelléas et Mélisande an der English hat er unter anderem La bohème und ein der Royal Opera in Covent Garden und an der Foundation, Marguerite in Faust, Adina, National Opera. Soloprogramm mit großen Opernarien Metropolitan Opera, New York in Pfitzners Zerlina und Micaela. Als etablierter Konzertkünstler ist Garry aufgenommen, außerdem für Opera Rara Palestrina auf. Sie schuf die Rolle der Tina in Magee in Recitals in der Wigmore Hall, am Medea in Corinto, Orazi e Curiazi, Rosmonda Jonathan Doves Flight für die Glyndebourne Garry Magee entwickelt sich schnell zu einem Théâtre du Châtelet und beim Festival von d’Inghilterra, Ricciardo e Zoraide und Maria Touring Opera und sang sie dann auch an der der herausragenden vokalen und dramatischen Aix-en-Provence aufgetreten. Er hat mit dem regina d’Inghilterra. Glyndebourne Festival Opera. Sie sang die Talente seiner Generation. Er wurde 1995 mit Irish Chamber Orchestra, der Birmingham Duchess in Powder her Face von Thomas Adès dem 1. Preis der prestigeträchtigen Kathleen Contemporary Music Group, dem Orchester Mary Plazas studierte bei Ava June am Royal mit der Almeida Opera, beim Aldeburgh Ferrier Awards ausgezeichnet und gehörte der Komischen Oper, der Philharmonia und Northern College of Music, wo sie von der Festival und in einer Fernsehaufnahme für 1996 zu den Preisträgern beim Internationalen dem London Symphony Orchestra gesungen. Peter Moores Foundation und dem Countess Channel 4. Im Sommer 2001 debütierte sie Belvedere-Wettbewerb in Wien. Seine Außerdem hat er mit dem Sinfonie-Orchester of Munster Musical Trust unterstützt wurde. bei den Bregenzer Festspielen als Mimì, die sie Ausbildung erhielt er an der Guildhall School von Stavanger gesungen. Ihr Operndebüt gab sie 1992 als Stimme vom auch 2002 wieder singen sollte. of Music and Drama und am National Opera Zu seinen Schallplattenaufnahmen gehören Himmel (Don Carlos) an der English National Mary Plazas hat zahlreiche Recitals und Studio. Derzeit studiert er bei Robert Dean. die Titelrolle in Don Giovanni für Opera, wo sie derzeit Hauptsängerin ist. Zu Konzerte gegeben, darunter Solorecitals in der Seine Auftritte als Opernsänger führten ihn Chandos/Peter Moores Foundation und ihren Rollen gehörten Mimì, Leila, Adina, Wigmore Hall, im Purcell Room und im an die Royal Opera, Covent Garden The Wound Dresser von John Adams. Nannetta, Micaëla, Marzelline (Fidelio), Karajan-Zentrum in Wien. Außerdem ist sie bei (Guglielmo in Così fan tutte und Fürst Afron in Lauretta, Oscar, Dorabella und die Titelrolle den Festspielen von Cheltenham, Aldeburgh Le Coq d’or), an die Opera North (Guglielmo Diana Montague hat am Royal Northern in Das schlaue Füchslein (English National und Chester aufgetreten. Im konzertanten in Così fan tutte und Schaunard in La bohème), College of Music studiert. Seit ihrem Debüt Opera); Mimì, Susanna (Le nozze di Rahmen hat sie Haydns Schöpfung, Tippetts an die English National Opera (Dancairo in als Zerlina an der Glyndebourne Touring Figaro), Tebaldo (Don Carlos) und Elisetta A Child of our Time, Mahlers Sinfonie Nr. 8, Carmen), zum Almeida Festival sowie an das Opera ist sie in den führenden Opernhäusern (Il matrimonio segreto) an der Opera North; Mozarts Requiem, Ein deutsches Requiem von Teatro Municipal in Santiago. Er hat auch eine und Konzertsälen der Welt aufgetreten, Donna Elvira (Glyndebourne Touring Opera); Brahms, die Sinfonie Nr. 14 von Reihe von hocherfolgreichen Debüts gegeben: darunter auch am Royal Opera Covent Anne Trulove (New Israeli Opera und Opera Schostakowitsch, Beethovens Neunte und The an La Monnaie als Malatesta (Don Pasquale) Garden, an der Metropolitan Opera New Factory) sowie Echo (Ariadne auf Naxos) und Promised Land von Saint-Saëns gesungen. und Dandini (La Cenerentola), mit der York, dem Théâtre royal de la Monnaie in Madame Silberklang (Der Schauspieldirektor) Ihre Schallpattenaufnahmen umfassen Flandrischen Oper als Fürst Jeltzki (Pique Brüssel, der Opéra national de Paris-Bastille, an der Garsington Opera. Mercadantes Emma d’Antiocchia und Pacinis Dame) und an der Glyndebourne Festival am Teatro Colon in Buenos Aires sowie 1996 debütierte sie bei den BBC Maria Regina d'Inghilterra (beide für Opera Opera als Steward (Flight) sowie in den bei den Festspielen von Bayreuth und Promenade Concerts mit der Royal Opera als Rara), Dido and Aeneas für Chandos, L’Enfant Titelrollen von Don Giovanni an der Opera Salzburg.

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Sie hat unter anderem Iphigénie en Tauride (Curlew River) und Rambaldo (Maria di Geoffrey Mitchells Gesangskarriere hat ihm Lorin Maazel, Riccardo Muti, Giuseppe (in Buenos Aires, Madrid und an der Welsh Rudenz) und Ali (Zoraida di Granata) für ein bemerkenswert breitgefächertes Repertoire Sinopoli, Carlo Maria Giulini, Sir Andrew National Opera), La clemenza di Tito und Opera Rara. von der alten bis zur neuen Musik beschert Davis, Vladimir Ashkenazy und Esa-Pekka Glucks (Glyndebourne), und ihn nach Skandinavien, Deutschland, in Salonen unterhalten. Unter seinem derzeitigen Le Comte Ory (in Lausanne, Rome und Die Mezzosopranistin Sarah Walker kann auf die ehemalige Tschechoslowakei, nach Kanada Chefdirigenten Christoph von Dohnanyi und Glyndebourne) und Ariadne auf Naxos in eine herausragende Karriere als Recital- und und Australasien geführt. Nachdem er bei der mit Leonard Slatkin als Erstem Gastdirigenten Lissabon gegeben. Die zahlreichen Opernsängerin verweisen und ist bei Festivals, BBC erste Dirigiererfahrungen gesammelt hat das Orchester seine zentrale Position im Schallplattenaufnahmen Diana Montagues in Konzertsälen und an Opernhäusern in ganz hatte, begann er mit eigenen Sängern zu britischen Musikleben gefestigt, und zwar umfassen I Capuleti e i Montecchi, Norma, Europa, Nordamerika, Australien und arbeiten und gründete den Geoffrey Mitchell nicht nur in London, wo es als Hausorchester Lucia di Lammermoor, Iphigénie en Tauride, Neuseeland mit vielen der namhaftesten Choir. Aus ersten Aufnahmen entwickelte sich der Royal Festival Hall fungiert, sondern mit Il crociato in Egitto (für Opera Rara) sowie Dirigenten, Sänger und Begleitpianisten der eine langfristige Zusammenarbeit des Chors Hilfe regionaler Gastspiele auch für ein Cavalleria rusticana, Höhepunkte aus Boris Welt aufgetreten. Ihr Opernrepertoire reicht mit Opera Rara, für die er über dreißig breiteres Publikum. Godunov, und zwei Programmen mit von Claudio Monteverdi (Il ritorno d’Ulisse in Tonträger aufgenommen hat. Der Chor Das Orchester hat mehrere bedeutende Opernarien (für Chandos und die Peter patria und L’incoronazione di Poppea) und genießt wachsendes Ansehen und ist bei der Preise gewonnen und mit seiner Vitalität und Moores Foundation). Francesco Cavalli (La Calisto) bis zu Sir Peter BBC und internationalen Plattenfirmen seinem einzigartig warmen Klang den Beifall Maxwell Davies (Taverner) und Aulis Sallinen gefragt. Für Chandos hat der Geoffrey der Kritik gefunden. Außerdem wurde es für Matthew Hargreaves studierte an der Guildhall (The King Goes Forth to France). Sie pflegt enge Mitchell Choir an zahlreichen Aufnahmen der seine innovative Programmgestaltung School of Music and Drama bei Rudolph Kontakte zur Royal Opera Covent Garden hervorragend kritisierten Reihe Opera in gepriesen, in deren Kern die Zielsetzung steht, Piernay; 1997 gewann er sowohl den Decca und ist auch vielfach an der English National English unter der Schirmherrschaft der Peter neue Stücke der weltweit führenden lebenden Prize als auch die Kathleen Ferrier Award Opera aufgetreten. Ihre zahlreichen Moores Foundation teilgenommen. Komponisten, zum Beispiel seines derzeitigen Competition. Zu seinen Rollen zählen Figaro, Aufnahmen auf Tonträger spiegeln die große Gastkomponisten James MacMillan, zu spielen Dandini (La Cenerentola), Escamillo (Carmen) Bandbreite ihres Repertoires wider; dazu Seit seinen vielversprechenden Anfängen 1945, und in Auftrag zu geben. an die Royal Albert Hall, Fiorello zählen bei Chandos Musik von Manuel de als es von Walter Legge hauptsächlich für Das Orchester unternimmt oft (Il barbiere di Siviglia) mit der English Touring Falla und Mozart sowie Giulio Cesare, in Schallplattenaufnahmen gegründet wurde, hat Auslandstourneen und kann als das am Opera, sowie Leporello am Opera Atelier in Zusammenarbeit mit der Peter Moores das Philharmonia Orchestra einige der häufigsten aufgenommene Sinfonieorchester der Toronto. Weitere Auftritte hatte er auf dem Foundation eingespielt. Von Königin Elisabeth bedeutendsten Dirigenten des zwanzigsten Welt über tausend Einspielungen für sich Covent Garden Festival, mit der Welsh II. wurde Sarah Walker 1991 mit dem Orden Jahrhunderts für sich gewonnen. Besonders verbuchen. Darunter befinden sich (für die National Opera und der Opera Holland Park. CBE (Commander of the Order of the British enge Beziehungen zu dem Orchester haben Reihe Opera Rara) mehrere Aufnahmen mit Seine CD-Aufnahmen umfassen den Abt Empire) ausgezeichnet. Otto Klemperer (der erste Chefdirigent), Opernarien und elf vollständige Opernauf-

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zeichnungen (Donizettis Ugo, conte di Parigi, dirigiert und tritt regelmäßig mit dem den belgischen Prix Cecilia für Donizettis Lammermoor, Aida, Don Giovanni, Ernani, Ne m’oubliez pas, Emilia di Liverpool, L’assedio di Philharmonia Orchestra auf. 1996 gab er sein Rosmonda d’Inghilterra. Für Chandos hat er die Faust, Don Pasquale, The Elixir of Love, Calais, Rosmonda d’Inghilterra und Maria de Debüt beim Glyndebourne Festival mit Così Aufzeichnung von neun Programmen mit La Bohème, Cavalleria rusticana, Pagliacci, Rudenz, Meyerbeers Dinorah, Mayrs Medea in fan tutte und hat dort 1998 die Uraufführung Opernarien geleitet (mit , Diana Il trovatore, die preisgekrönte Tosca und Corinto, Mercadantes Orazi e Curiazi, Pacinis von Jonathan Doves Flight geleitet. Montague, Dennis O’Neill, Alastair Miles, Highlights aus dem Rosenkavalier, jeweils in Maria, regina d’Inghilterra und Rossinis Otello). Er ist häufig in Spanien zu Gast und hat mit Yvonne Kenny, John Tomlinson, Andrew Zusammenarbeit mit der Peter Moores Das Orchester hat für Chandos zahlreiche den meisten bedeutenden spanischen Shore und Della Jones), außerdem Lucia of Foundation. Aufnahmen auf Tonträger vorgenommen, Orchestern Konzerte gegeben. In Madrid hat beispielsweise für die Reihe Opera in English er die spanische Erstaufführung von Peter unter der Schirmherrschaft der Peter Moores Grimes dirigiert, und 1996 die erste spanische Foundation L’elisir d’amore, Faust, La bohème, Inszenierung von The Rake’s Progress. Er ist in die preisgekrönte Tosca und acht Soloalben mit Deutschland, Schweden und den Niederlanden Opernarien (mit Bruce Ford, Diana Montague, aufgetreten, bei den Festspielen in Pesaro, beim Dennis O’Neill, Alastair Miles, Yvonne Kenny, Hong Kong International Festival, in Japan Andrew Shore und zwei mit John Tomlinson). anläßlich einer Carmen-Tournee und in Mexiko mit dem UNAM Symphony David Parry hat bei Sergiu Celibidache studiert Orchestra. Zu den Neuproduktionen, die er in und seine berufliche Laufbahn als Assistent von letzter Zeit dirigiert hat, zählen Fidelio beim Sir John Pritchard begonnen. Er hat am English New Zealand Festival, Maria Stuarda am Music Theatre debütiert und wurde dann Stadttheater Basel und Lucia di Lammermoor Dirigent mit Festvertrag an den Städtischen an der New Israeli Opera. Bühnen Dortmund und an der Opera North. Seine Tätigkeit im Aufnahmestudio umfaßt Von 1983 bis 1987 war er Musikdirektor der die Produktion von Marschners Der Vampyr Opera 80 und seit 1992 Gründungsmitglied fürs BBC-Fernsehen und einundzwanzig und Direktor der Almeida Opera. vollständige Opernaufzeichnungen unter der Er übt in Großbritannien und international Schirmherrschaft der Peter Moores eine weitgespannte Tätigkeit in den Bereichen Foundation. Darunter befinden sich zahlreiche Oper und Konzert aus, hat mehrere Aufnahmen des Labels Opera Rara, die Produktionen der English National Opera mehrere Preise gewonnen haben, beispielsweise

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Introduite en Angleterre en 1863, l’œuvre y vers la fin des années 1940, en France, dans la Charles Gounod: Faust fut donnée à chaque saison jusqu’en 1911 (à la langue d’origine avec des chanteurs français. vive contrariété de Bernard Shaw auquel elle Bien qu’après cela l’œuvre baissât quelque peu Après la première (1859) de ce qui allait célèbre. Il y transforma adroitement, bien que inspirait de la répulsion) et chantée en italien, dans l’estime populaire, elle a rarement quitté devenir la partition la plus populaire de peut-être inconsciemment, le théâtre en chaire, qui était alors la langue véhiculaire opératique le répertoire des compagnies britanniques, Gounod, un vieil ami du compositeur, l’abbé adaptant son style religieux aux lois du théâtre. en Grande-Bretagne comme partout ailleurs. étant régulièrement représentée à Covent Gay, fit cette observation: “Le monde s’est C’est une façon de procéder qui a Lors de la première londonienne à Her Garden et au Sadler’s Wells (très récemment à emparé de lui et en a chassé Jésus-Christ.” manifestement séduit le public, partout et à Majesty’s Theatre, Sir Charles Santley chanta l’English National Opera dans une mise en C’est une remarque qui s’applique chaque fois que l’opéra a été représenté – donc le rôle de Valentin. Gounod, qui assistait à la scène très applaudie de Ian Judge, avec John particulièrement bien à un compositeur qui très souvent. représentation, fit la connaissance du célèbre Tomlinson en Méphistophélès). trouvait difficile de concilier les deux D’abord présentée au Théêtre-Lyrique en baryton de sorte que, lorsque la première Durant l’époque où Gounod était lauréat influences qui le guidaient: l’amour de Dieu et 1859, sous forme d’opéra comique (c’est à dire représentation de l’opéra en anglais fut fixée du Prix de Rome, de 1839 à 1842, son intérêt l’amour de la sensualité, chose qui se reflète avec dialogue parlé), l’œuvre atteignait l’Opéra pour l’année suivante, Santley suggéra que le pour la première partie de l’œuvre de Goethe dans ses compositions. Ses oratorios et ses dix années plus tard; elle y fut jouée avec le compositeur écrivît un air à son intention, en fut éveillé lorsqu’il lut une traduction de la autres œuvres sacrées sont maintenant dans récitatif que Gounod avait écrit pour une utilisant une mélodie figurant dans le Prélude. pièce, faite par Gérard de Nerval. Il tomba une large mesure oubliées, mais ses œuvres représentation donnée à Strasbourg en 1860 – C’est ainsi que la célèbre cavatine pour immédiatement amoureux de la pièce et pour la scène, tout au moins deux d’entre elles, c’est d’ailleurs la forme sous laquelle on la baryton vit le jour. Enthousiasmé, le critique décida de mettre cette “fabuleuse histoire” en Faust et Roméo et Juliette, survivent, présente généralement de nos jours. C’est aussi Henry Chorley écrivit: “Even bravest heart musique. Les voyages qu’il fit au pays de continuant d’être représentées dans toutes les à l’Opéra qu’eut lieu sa 2000ème may swell” [“Duty bids me leave this place” Goethe, où les légendes anciennes abondaient, capitales opératiques. Ses aspirations religieuses représentation en 1944, et on avait atteint la sur cet enregistrement]. Elle remporta un eurent pour effet de renforcer sa commencèrent à être reléguées au second plan 2836ème à l’époque de la nouvelle mise en succès immédiat et depuis lors est toujours détermination. Il entendit ensuite lorsque Gounod fit la connaissance de Pauline scène réalisée par Jorge Lavelli en 1975, en soi restée un des ingrédients de base des récitals de La damnation de Faust de Berlioz, qui l’émut Viardot, célèbre cantatrice, qui attira son un hommage à la longévité et à la popularité baryton. profondément. Ceci, loin de mettre un frein attention sur l’opéra. Un autre commentateur, de l’œuvre. On l’entendit pour la première fois Sir Thomas Beecham, qui était un des à son désir de mettre Gœthe en musique, ne le peintre Delacroix affirma: “Un compositeur en Italie à La Scala, en 1862. La plupart des principaux défenseurs de Faust, enregistra fit que le stimuler. En 1849, il tenta une écrit Faust et cela lui fait tout oublier modifications et des coupures effectuées à cette l’œuvre en anglais, en 1929, avec des première fois de mettre la scène de l’église en d’Hadès.” La bataille que se livrèrent le sacré occasion devinrent par la suite de tradition, y chanteurs de la British National Opera musique. et le profane dans l’âme de Gounod est compris l’élimination de la scène de la nuit de Company sous la direction de Heddle Nash et Il fit ensuite la connaissance des écrivains habilement esquissée dans son opéra le plus Walpurgis. Miriam Licette, puis l’enregistra à nouveau qui allaient devenir les auteurs du livret de

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Faust, Jules Barbier et Michel Carré. Carré devenu aphone au cours de la répétition descendantes, sévère et implacable comme un celle de la cavatine en trois parties de Faust, était l’auteur d’une pièce intitulée Faust et générale, devait être remplacé. La première arrêt de mort, il fut saisi d’un tel frisson de “Salut, demeure chaste et pure” (This pure Marguerite, vue par Gounod en 1850, qui reçut un accueil favorable, notamment à cause peur que sa tête tomba sur l’épaule de sa mère abode of simple virtue) avec une section fournit les bases du livret d’opéra. Barbier de la prestation de la prima donna. et que, tremblant sous la double étreinte de la centrale modulante. Les rythmes de marche réduisit les dimensions de la pièce pour L’élite a souvent critiqué cet opéra, le beauté et de l’horreur, il ne put que murmurer: qui envahissent certaines parties de la partition qu’elles conviennent exactement aux besoins qualifiant de parodie de Goethe parce qu’il ne “Voilà vraiment de la musique!” Ainsi parla le ne paraîtraient pas déplacés dans les œuvres de de Gounod en éliminant ou regroupant les pouvait rivaliser avec les défis philosophiques futur compositeur de Faust. Meyerbeer. personnages et les événements, un travail qui de l’original, condition que Berlioz et Boito Gounod, lorsqu’il composa sa partition, fut Cependant, ces aspects de l’œuvre ne s’avère essentiel lorsqu’on désire adapter une semblaient plus près de remplir dans leurs fortement influencé par Meyerbeer, qui – ne suffiraient pas à expliquer la popularité à la pièce au rythme plus lent de l’opéra. Parmi les drames musicaux faustiens. Gounod se montra l’oublions jamais – jouissait alors d’une fois immense et persistante de Faust. Ce qui personnages surnaturels, seuls Méphistophélès (bien naturellement vu sa formation) plus popularité énorme en France. Gounod fut l’explique c’est un don spécial à Gounod. C’est et quelques démons restèrent. intéressé par l’aspect moral – la ruine de aussi influencé par Halévy et Rossini, le le lyrisme que l’on trouve en particulier dans la Siébel, brûlant d’un amour timide et Marguerite et sa rédemption finale par le Rossini des œuvres françaises qui furent écrites cavatine de Faust et dans le duo prolongé que vertueux pour Marguerite, est quasiment une repentir, ainsi que la tentative de Faust vouée à pour la scène parisienne à la fin de sa carrière chantent Marguerite et Faust dans le jardin à création nouvelle. La psychologie complexe de l’échec de retrouver la jeunesse en signant un opératique, et dont le point culminant fut l’acte III, duo qui constitue le cœur même de Faust se réduisit à une lutte entre le désir pacte avec le diable incarné. Ses librettistes lui Guillaume Tell. Le style de Gounod était à l’opéra avec sa voluptueuse mélodie, charnel et l’amour pur. Marguerite incarna fournirent très exactement les situations dont l’époque aussi admiré que celui de Verdi et de merveilleusement tournée. On retrouve la l’innocence trahie et finalement rachetée. La il avait besoin. Wagner. En Angleterre, on le considérait même qualité dans la courte scène significative scène de la prison et l’apothéose finale, qui ne A un âge précoce, Gounod avait été fasciné comme le véritable successeur de au timbre gracieusement français, où les figuraient pas dans l’œuvre de Carré, furent par une œuvre portant sur le même sujet que Mendelssohn. Verdi lui-même admirait amants se rencontrent pour la première fois, et ajoutées, de même que la mort de Valentin. Faust, le Don Giovanni de Mozart. Il déclara Gounod, bien qu’il regrettât, peut-être à juste le solo de Valentin, mentionné au préalable, Gounod acheva la composition de l’opéra dans sa biographie que les premières notes de titre, l’absence de fibra drammatica dans sa qui semble caractériser de façon idéale ce jeune en 1858, et les répétitions commencèrent l’ouverture, avec les majestueux accords musique. Ce fut sans aucun doute le homme si droit. Vient aussi l’excitation pleine aussitôt au Théâtre-Lyrique dont le directeur solennels empruntés à la scène où apparaît le conformisme même de l’œuvre qui amena à d’anticipation de Marguerite telle que la révèle était Léon Carvalho. La femme de ce dernier, Commandeur pour la dernière fois semblèrent son acceptation rapide, ses formes musicales l’air des bijoux contrastant avec la chanson Marie Miolan Carvalho, devait incarner le faire pénétrer dans un monde nouveau. Il étant celles qui étaient familières à tout élégiaque du roi de Thulé, empreinte d’un Marguerite, ce qui explique l’importance fut glacé par une sensation de véritable terreur. amateur d’opéra de l’époque, en particulier léger parfum d’antiquité. accordée au rôle dans la partition. Il fallut Mais lorsqu’il entendit le terrible roulement de celles des solos de Méphistophélès, des La valse de la kermesse que l’on rencontre si reporter la première: le ténor chantant Faust, tonnerre des gammes ascendantes et couplets, c’est à dire avec un refrain répété, et souvent hors de son contexte, opposant

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délicatement chœur et orchestre est élégantes à chanter – depuis sa première mise jeunesse, chose que Méphistophélès ne lui Ce geste provoque la colère de Valentin. Ils mémorable. Les deux solos de Méphistophélès en scène, cette musique de Gounod a eu accordera que s’il signe la reddition de son dégainent tous les deux. Méphistophélès trace bien que n’ayant peut-être pas la subtilité de l’honneur d’être interprétée par quasiment âme. Comme Faust hésite, il a une vision de la un cercle autour de lui avec la pointe de son leurs équivalents dans la mise en musique du toutes les stars de l’opéra. A une époque où belle Marguerite assise à son rouet. Il signe le épée et, lorsque Valentin attaque et que son chef d’œuvre de Goethe écrite par Berlioz, l’on prise tant la rare présence de mélodies document, boit au gobelet que lui présente épée pénètre à l’intérieur du cercle, la lame se sont probablement plus remarquables au chantables dans une œuvre nouvelle, le talent Méphistophélès, et se transforme brise en éclats. 13 Le jeune homme se rend niveau de la mélodie: il semblerait que le plus de Gounod répand sa lumière, tel un phare instantanément en jeune homme. compte de l’identité de son adversaire. bel air ait été attribué au diable avec sa dans la nuit. C’est à nos risques et périls que Valentin et ses amis marchent en direction de sérénade insinuante. Le jeune Siébel est nous tournons en dérision ce talent – et Acte II Méphistophélès, brandissant la garde en forme joliment campé avec son petit solo ingénu. d’ailleurs les sentiments d’un âge antérieur. 7 Des gens se sont rassemblés devant une de croix de leurs épées. 14 Méphistophélès, Efficaces au niveau théâtral sont l’hymne au auberge située près d’une des portes de la recroquevillé de peur, s’en va. soir que chante Marguerite et du rôle qu’y © 1999 Alan Blyth ville. Ce sont des étudiants, des hommes de la 15 – 16 La foule s’assemble pour danser. joue Faust à la fin de l’acte III lorsqu’il revient ville, des soldats et des femmes jeunes et Faust et Méphistophélès entrent et voient se jeter dans les bras de la jeune fille, tandis Argument vieilles qui chantent joyeusement. 8 Le frère Marguerite. Faust lui offre le bras, mais elle que le rire sardonique de Méphistophélès de Marguerite, Valentin, et son jeune ami refuse poliment. Le ravissement de Faust en est monte des coulisses, sans oublier la scène de la COMPACT DISC ONE Siébel se joignent à la foule. Valentin encore accru. mort de Valentin et le trio final qui touchent à auquel Marguerite a donné un médaillon la matière même de l’opéra français de la fin Acte I avant qu’il ne parte à la guerre, 9 demand Acte III du romantisme. 1 – 2 Faust, un philosophe d’un âge avancé, à Siébel de veiller sur sa sœur en son 17 – 21 Siébel cueille des fleurs pour Il ne faudrait pas non plus négliger la est assis dans son cabinet de travail. Il absence. Marguerite, et, comme prédit, elles se maîtrise de l’orchestration qu’avait acquise désespère de résoudre l’énigme de l’univers et, 10 Wagner, essayant d’égayer l’atmosphère, flétrissent et meurent. Le recours à l’eau Gounod. Elle semble des plus évidentes dans désabusé, décide de s’empoisonner. 3 Alors se met à chanter. Il est interrompu par bénite met fin à cette malédiction et il laisse l’interaction des voix du quatuor de l’acte III, qu’il s’apprête à boire le poison, il entend les Méphistophélès qui chante 11 la Chanson du un bouquet à la porte de Marguerite. et d’ailleurs dans le chœur de soldats: tout voix des femmes et des ouvriers agricoles se veau d’or et lit les lignes de la main de ceux 22 Méphistophélès dépose un coffret rempli banal qu’il ait pu devenir à force d’être utilisé rendant au travail. 4 Maudissant la vie et la qui l’entourent; 12 il dit à Siébel que toute de bijoux à l’intention de la jeune fille. hors de contexte, il est saisissant lorsqu’il vieillesse, il appelle le diable pour qu’il lui fleur qu’il touchera mourra. Repoussant le vin 23 Pendant ce temps, Marguerite chante une est chanté à sa place, au début de l’acte IV. vienne en aide. 5 – 6 Méphistophélès médiocre que lui offre Wagner, vieille ballade. 24 Lorsqu’elle trouve les bijoux Si dénigré soit-il, Faust est un drame musical apparaît et lui offre richesses et puissance, mais Méphistophélès fait couler du vin de l’enseigne et s’en pare, c’est une femme bien différente réussi. C’est aussi une des œuvres les plus ce que Faust désire ardemment, c’est la de l’auberge et boit à la santé de Marguerite. qu’elle voit dans son miroir.

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COMPACT DISC TWO Méphistophélès, Valentin s’effondre Cassio (Otello), Tybalt (Roméo et Juliette) et à Vienne (La Juive et Giorgio); à San Francisco mortellement blessé. 17 Dans son dernier Alfredo pour le Royal Opera. Sur la scène (Giorgio, Raimondo et Basilio dans Il barbiere 1 Sa voisine d’âge mûr, Martha, remarque souffle, Valentin maudit Marguerite. internationale, il a été Anatol (Vanessa), di Siviglia); à Amsterdam (Figaro dans qu’ils sont sûrement le don d’un admirateur. Rodolphe et Alfredo pour le Seattle Opera; Le nozze di Figaro); au Teatro Real de Madrid 2 – 3 Faust et Méphistophélès entrent, Acte V Alfredo à Cincinnati; Jenik (La Fiancée (Philip II dans Don Carlos); à l’English National Faust faisant la cour à Marguerite et 18 – 19 Marguerite est emprisonnée pour avoir vendue) et Roméo (Roméo et Juliette) pour le Opera (le rôle titre dans Mephistopheles, Méphistophélès contant fleurette à Martha. tué son enfant. Faust et Méphistophélès viennent Metropolitan Opera à New York; Pinkerton Zaccaria dans Nabucco), et au Royal Opera de Marguerite, qui commence à faiblir, se dégage la délivrer. 20 Elle semble reconnaître Faust et (Madama Butterfly) pour le Houston Grand Covent Garden (Elmiro dans Otello et Frère pourtant de l’étreinte de Faust et retourne en se remémore la nuit où il l’a séduite pour la Opera; Macduff (Macbeth) pour Monte-Carlo Laurent dans Roméo et Juliette). Son premier courant chez elle. 4 – 6 Méphistophélès première fois. 21 Faust l’incite à partir avec lui, et le rôle-titre de Faust pour le Minnesota Fiesco (Simon Boccanegra) fut un grand succès, rassemble alors tous les parfums enivrants des mais elle prie Dieu de la pardonner. Lorsqu’elle Opera et le Cincinnati Opera. et vient après d’autres interprétations verdiennes fleurs de la nuit, 7 et Marguerite ouvre sa meurt, Méphistophélès la maudit, mais des Il a fait une tournée européenne de concerts qui lui valurent les mêmes louanges. fenêtre pour confesser à la nuit l’amour qu’elle voix angéliques proclament qu’elle est sauvée. avec l’Orchestra of the Age of Enlightenment Alastair Miles mène avec grand succès une ressent pour Faust. Ce dernier émerge de et Sir Simon Rattle avec la Neuvième de carrière internationale en concert, se produisant l’ombre et elle le fait rentrer chez elle. Traduction: Marianne Ferné Beethoven (qu’il a également interprétée avec avec des chefs aussi éminents que Giulini, le Scottish Chamber Orchestra) et a chanté Mehta, Chung, Masur, Gergiev, Gardiner et Acte IV Né à Liverpool, Paul Charles Clarke fit ses Elijah de Mendelssohn sous la baguette avec les plus prestigieux orchestres du monde. 8 – 10 Marguerite a été abandonnée par études au Royal College of Music avec Neil d’Andrew Davis à Rome. Son impressionnante discographie, qui compte Faust dont elle attend l’enfant. Elle s’en va Mackie et remporta le Concours Kathleen Il a enregistré entre autres Tybalt (Roméo et actuellement quarante-deux titres, inclut Elijah prier. 11 – 13 Les soldats reviennent avec Ferrier en 1989. Il a été entre autres le Duc Juliette) et, pour Chandos en collaboration de Mendelssohn, le Requiem de Verdi, Saul et Valentin. Siébel essaie de le dissuader d’entrer (Rigoletto) pour Scottish Opera et le Seattle avec la Peter Moores Foundation, Pinkerton Agrippina de Haendel. En l’an 2000, il fit ses dans la maison, mais le jeune homme écarte Opera; Fenton (Falstaff ) au Japon et au (Madam Butterfly). débuts en récital en Grande-Bretagne avec son ami et rentre. Festival d’Edimbourg; le Grand Prêtre de Roger Vignoles. Parmi ses autres 14 Méphistophélès chante de la part de Neptune (Idomeneo), Rodolphe (La bohème), Salué dans le monde entier comme l’un des enregistrements, on peut citer La bohème et un Faust une sérénade moqueuse qui s’adresse à Alfredo (La traviata) et le rôle-titre de Faust plus grands chanteurs britanniques, Alastair album recital (Great Operatic Arias) pour Marguerite. 15 – 16 Valentin sort pour le Welsh National Opera; Alfredo et Miles s’est produit au Metropolitan Opera de Chandos et la Peter Moores Foundation, et précipitamment de la maison pour demander Nemorino (L’elisir d’amore) pour Scottish New York (Giorgio dans I Puritani et dans la série Opera Rara, Medea in Corinto, satisfaction à celui qui a séduit sa sœur. Opera; Rodolphe et Dimitri (Boris Godunov) Raimondo dans Lucia di Lammermoor); à Orazi e Curiazi, Rosmonda d’Inghilterra, Valentin et Faust se battent et, par l’action de pour Opera North; Froh (Das Rheingold ), l’Opéra National de Paris-Bastille (Raimondo); Ricciardo e Zoraide et Maria regina d’Inghilterra.

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Mary Plazas a étudié au Royal Northern incarné la Duchesse dans Powder her Face Garry Magee s’impose rapidement comme Théâtre du Châtelet à Paris et au Festival d’Aix- College of Music de grâce au de Thomas Adès à l’Almeida Opera et au l’un des talents vocaux et dramatiques les plus en-Provence. Il a chanté avec l’Irish Chamber soutien de la Peter Moores Foundation et du Festival d’Aldeburgh, et a également enregistré exceptionnels de sa génération. Il remporta le Orchestra, le Birmingham Contemporary Music Countess of Munster Musical Trust. Elle a fait ce rôle pour la chaîne de télévision anglaise premier prix du prestigieux Kathleen Ferrier Group, l’Orchestre du Komische Opera, le ses débuts lyriques en 1992 à l’English Channel 4. Elle a fait ses débuts au Festival Award en 1995, et un prix lors du Concours Philharmonia, le London Symphony Orchestra National Opera dans le rôle de la Voix céleste de Bregenz dans le rôle de Mimì au cours de international Belvedere de Vienne en 1996. Il et le Stavanger Symphony Orchestra. (Don Carlos), et y est actuellement “Company l’été 2001, et y chante à nouveau ce rôle en est diplômé de la Guildhall School of Music Parmi les enregistrements de Garry Magee Principal”. Elle a incarné des rôles tels que 2002. and Drama de Londres et du National Opera figurent le rôle titre de Don Giovanni pour Mimì, Leila, Adina, Nannetta, Micaëla, Mary Plazas a donné de nombreux récitals Studio. Il continue actuellement ses études Chandos et la Peter Moores Foundation, et Marzelline (Fidelio), Lauretta, Oscar, et concerts, notamment au Wigmore Hall et à avec Robert Dean. The Wound Dresser de John Adams. Dorabella et le rôle titre dans Le Petit Renard la Purcell Room de Londres, et au Centre A l’opéra, Garry Magee s’est produit au rusé (English National Opera); Mimì, Susanna Karajan de Vienne. Elle s’est également Royal Opera de Covent Garden (Guglielmo Diana Montague a fait ses études au Royal (Le nozze di Figaro), Tebaldo (Don Carlos) et produite en Grande-Bretagne dans les festivals dans Così fan tutte, et le Prince Afron de Le Northern College of Music. Depuis ses débuts Elisetta (Il matrimonio segreto) à l’Opera de Cheltenham, Aldeburgh et Chester. Au Coq d’or); à l’Opera North (Guglielmo dans dans le rôle de Zerlina avec le Glyndebourne North; Donna Elvira (Glyndebourne Touring concert, elle a chanté dans Die Schöpfung de Così fan tutte et Schaunard dans La bohème); à Touring Opera, elle s’est produite sur les Opera); Anne Trulove (Nouvel Opéra d’Israël Haydn, A Child of our Time de Tippett, la l’English National Opera (Dancairo dans plus grandes scènes lyriques et dans les et Opera Factory); l’Echo (Ariadne auf Naxos), Huitième Symphonie de Mahler, le Requiem Carmen); au Festival d’Almeida; et au Teatro principales salles de concert du monde comme et Madame Silberklang (Der Schauspieldirektor) de Mozart, Ein deutsches Requiem de Brahms, Municipal de Santiago. Il a également fait des le Royal Opera Covent Garden, le Metropolitan au Garsington Opera. la Quatorzième Symphonie de Chostakovitch, débuts très acclamés au Théâtre de la Monnaie Opera à New York, le Théâtre de la Monnaie à En 1996, Mary Plazas a fait ses débuts au la Neuvième Symphonie de Beethoven, et de Bruxelles dans le rôle de Malatesta Bruxelles, l’Opéra national de Paris-Bastille, le BBC Promenade Concerts de Londres avec le La Terre promise de Saint-Saëns. (Don Pasquale) et dans celui de Dandini Teatro Colon à Buenos Aires; elle a participé Royal Opera de Covent Garden dans le rôle de Parmi les enregistrements de Mary Plazas (La Cenerentola), à l’Opéra de Flandres dans le aux festivals de Bayreuth et Salzbourg. la Voix céleste, et en 1997, elle s’est produite figurent Emma d’Antiocchia de Mercadante et rôle de Yeletsky (La Dame de Pique), au Elle a chanté, entre autre, dans Iphigénie au Royal Opera de Covent Garden et au Maria Regina d’Inghilterra de Pacini (pour Glyndebourne Festival Opera dans celui de en Tauride (à Buenos Aires, Madrid et avec Metropolitan Opera de New York dans Opera Rara), Dido and Aeneas pour Chandos, Steward (Flight), dans le rôle titre de Don le Welsh National Opera), Le Comte Ory Palestrina de Pfitzner. Elle a créé le rôle de L’Enfant et les sortilèges, et pour Chandos Giovanni à l’Opera North et dans Pelléas et (à Lausanne, Rome et Glyndebourne), Tina dans Flight de Jonathan Dove avec le et la Peter Moores Foundation, les rôle de Mélisande à l’English National Opera. La clemenza di Tito et Orfeo et Euridice de Gluck Glyndebourne Touring Opera, puis a repris ce Marguerite (Faust), Adina, Zerlina et Concertiste réputé, Garry Magee s’est produit (Glyndebourne) ainsi que dans Ariadne auf rôle au Festival de Glyndebourne. Elle a Micaëla. en récital au Wigmore Hall de Londres, au Naxos à Lisbonne. Diana Montague a réalisé de

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nombreux enregistrements, gravant entre autres grands chefs d’orchestre, chanteurs et avec Opera Rara pour qui il a réalisé plus de plusieurs prix importants et soulevé I Capuletti e i Montecchi, Norma, Lucia di accompagnateurs. A l’opéra, son répertoire va trente enregistrements. Ce Chœur ne cesse l’enthousiasme des critiques pour la vitalité et Lammermoor, Iphigénie en Tauride, Il crociato in de Claudio Monteverdi (Il ritorno d’Ulisse in d’élargir sa réputation, travaillant avec la BBC la chaleur exceptionnelle de son jeu. On a Egitto (pour Opera Rara) ainsi que Cavalleria patria et L’incoronazione di Poppea) et et plusieurs maisons de disques internationales. aussi fait l’éloge de ses programmes novateurs rusticana, des extraits de Boris Godunov, et deux Francesco Cavalli (La Calisto) jusqu’à Sir Peter Pour Chandos, le Geoffrey Mitchell Choir a dans lesquels l’ensemble s’engage à interpréter disques d’airs d’opéra (pour Chandos en Maxwell Davies (Taverner) et Aulis Sallinen participé à plusieurs enregistrements pour et commander des œuvres nouvelles par les association avec la Peter Moores Foundation). (The King Goes Forth to France). Elle entretient Opera in English, une série de disques très plus grands compositeurs contemporains, des liens étroits avec le Royal Opera de Covent prisés financée par la Peter Moores comme James MacMillan, son actuel Matthew Hargreaves a étudié à la Guildhall Garden et a souvent chanté à l’English Foundation. compositeur en résidence. School of Music and Drama avec Rudolph National Opera. Ses nombreux disques L’Orchestre fait souvent des tournées Piernay, et a remporté le Prix Decca dans le reflètent son vaste répertoire, et pour Chandos, Depuis ses excellents débuts en 1945, lorsqu’il internationales; aucun autre orchestre cadre de la Kathleen Ferrier Award Competition elle a notamment enregistré des œuvres de fut fondé par Walter Legge essentiellement symphonique dans le monde ne possède une de 1997. Il a incarné Figaro, Dandini (La Manuel de Falla et de Mozart, ainsi que Giulio pour jouer dans des enregistrements, le discographie aussi importante, avec plus de Cenerentola), Escamillo (Carmen) au Royal Cesare, ce dernier en association avec la Peter Philharmonia Orchestra n’a cessé d’attirer mille disques à son actif. Notons entre autres Albert Hall, Fiorello (Le barbier de Séville) pour Moores Foundation. Sarah Walker a reçu le certains des plus grands chefs d’orchestre du plusieurs disques d’airs d’opéra pour Opera l’English Touring Opera, et Leporello pour titre de commandeur de l’ordre de l’empire XXe siècle. Certains furent associés de près à Rara ainsi que onze intégrales d’opéras (Ugo, Opera Atelier, à Toronto. Il s’est aussi produit au britannique (CBE) en 1991. l’Orchestre: Otto Klemperer (son tout premier conte di Parigi, Ne m’oubliez pas, Emilia di Festival de Covent Garden, avec Welsh National chef principal), Lorin Maazel, Riccardo Muti, Liverpool, L’assedio di Calais, Rosmonda Opera et Opera Holland Park. Au nombre de Durant sa carrière de chanteur, Geoffrey Giuseppe Sinopoli, Carlo Maria Giulini, d’Inghilterra et Maria de Rudenz de Donizetti, ses enregistrements, figurent l’Abbé (Curlew Mitchell aborda un répertoire remarquablement Sir Andrew Davis, Vladimir Ashkenazy et Esa- Dinorah de Meyerbeer, Medea in Corinto de River), et Rambaldo (Maria di Rudenz) et Ali varié, depuis la musique ancienne jusqu’à la Pekka Salonen. Sous la direction de leur chef Mayr, Orazi e Curiazi de Mercadante, Maria, (Zoraida di Granata) pour Opera Rara. musique contemporaine, se produisant en principal actuel, Christoph von Dohnanyi, et regina d’Inghilterra de Pacini et Otello de Scandinavie, en Allemagne, dans l’ancienne celle de Leonard Slatkin, souvent invité à Rossini). L’Orchestre a fait de nombreux La mezzo-soprano Sarah Walker mène une Tchécoslovaquie, au Canada et en Australasie. prendre sa relève, l’Orchestre s’est fermement disques pour Chandos, en particulier, dans la carrière exceptionnelle à l’opéra et en récital, se Après avoir fait ses premières armes de chef installé au cœur de la vie musicale britannique, série Opera in English financée par la Peter produisant dans les festivals, les salles de d’orchestre avec la BBC, il décida de prendre non seulement à Londres puisqu’il est orchestre Moores Foundation, L’elisir d’amore, Faust, concert et sur les scènes lyriques de toute une part active dans ce domaine avec ses en résidence au Royal Festival Hall, mais aussi La bohème, cette version primée de Tosca et l’Europe, l’Amérique du Nord, l’Australie et la propres chanteurs et fonda le Geoffrey Mitchell en province où il se produit régulièrement. huit récitals solistes d’airs d’opéra (avec Bruce Nouvelle-Zélande, avec la plupart des plus Choir. L’ensemble travaille depuis longtemps Le Philharmonia Orchestra a remporté Ford, Diana Montague, Dennis O’Neill,

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Alastair Miles, Yvonne Kenny, Andrew Shore Italie, au Festival international de Hong-Kong, et deux avec John Tomlinson.) au Japon pour une tournée de Carmen et au Mexique avec l’Orchestre symphonique Après avoir étudié avec Sergiu Celibidache, d’UNAM. Il a récemment dirigé plusieurs David Parry commença sa carrière comme nouvelles productions dont Fidelio au Festival assistant de Sir John Pritchard. Il fit ses débuts de Nouvelle-Zélande, Maria Stuarda au avec l’English Music Theatre avant de devenir Théâtre de Bâle et Lucia di Lammermoor avec l’un des chefs d’orchestre au Städtische Bühnen le New Israeli Opera. à Dortmund et à Opera North. Directeur En studio, il a participé entre autres à la musical d’Opera 80 de 1983 à 1987, il est production de la BBC Television de Der directeur musical d’Almeida Opera depuis sa Vampyr de Marschner, dirigeant aussi vingt et fondation en 1992. une intégrales d’opéras financées par la Peter Sa carrière, nationale et internationale, est Moores Foundation. Plusieurs de ces intégrales extrêmement remplie, aussi bien sur la scène furent enregistrées pour Opera Rara et lyrique qu’en concert. Il a dirigé plusieurs primées, Rosmonda d’Inghilterra de Donizetti productions de l’English National Opera et recevant en Belgique le Prix Cecilia. Pour collabore régulièrement avec le Philharmonia Chandos, Parry a dirigé neuf enregistrements Orchestra. C’est avec Così fan tutte qu’il fit ses d’airs d’opéra (avec Bruce Ford, Diana débuts au Festival de Glyndebourne en 1996, Montague, Dennis O’Neill, Alastair Miles, une scène qu’il retrouva en 1998 pour diriger la Yvonne Kenny, John Tomlinson, Andrew création mondiale de Flight de Jonathan Dove. Shore et Della Jones) de même que Aida, Il séjourne fréquemment en Espagne où il a Don Giovanni, Ernani, Faust, Don Pasquale, dirigé en concert la plupart des grands The Elixir of Love, La bohème, Cavalleria orchestres espagnols. C’est lui qui dirigea la rusticana, Pagliacci, l’enregistrement primé de première espagnole de Peter Grimes à Madrid et Tosca et des extraits de Der Rosenkavalier, tous Janice Watson as Marguerite and en 1996 la première production espagnole de ces enregistrements étant réalisés en Paul Charles Clarke as Faust The Rake’s Progress. Il a dirigé en Allemagne, en collaboration avec la Peter Moores in Welsh National Opera’s Suède, aux Pays-Bas, au Festival de Pesaro en Foundation. production of Gounod’s Faust Photo by Bill Cooper

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Sir Charles Santley. Gounod assistette alla Durante la sua detenzione del Prix de Rome, Charles Gounod: Faust rappresentatione incontrando il celebre dal 1839 al 1842, l’interesse di Gounod alla baritono; così quando la prima esecuzione parte prima del lavoro di Goethe fu suscitato Dopo la prima del 1859 di quella che divenne ovviamente è piaciuta al pubblico ogni volta ed dell’opera in inglese fu messa in programma dalla sua lettura della traduzione di Gérard de l’opera più popolare di Gounod l’abate Gay, ovunque l’opera viene rappresentata, ovverosia per l’anno successivo Santley suggerì al Nerval del dramma. Immediatamente s’invaghì vecchio amico del compositore, osservò: “Il molto spesso. compositore di scrivere una romanza per lui del dramma, decidendo di mettere in musica mondo gli è entrato in corpo ed ha scacciato Presentata dapprima nel 1859 al Théâtre utilizzando un tema tratto dal Preludio. Fu questa “storia favolosa”. I suoi viaggi nel paese Gesù Cristo.” Questo commento ben si adatta Lyrique come opéra-comique cioè con dialogo, così che nacque la famosa cavatina del di Goethe, ricco di leggende, valsero a ad un compositore che trovò difficile conciliare giunse all’Opéra dieci anni dopo e fu eseguita baritono. Il critico Henry Chorley scrisse rafforzare la sua risoluzione. Ascoltò poi La le sue stelle gemelle: l’amore di Dio e l’amore con il recitativo che Gounod aveva scritto per questa frase: “Even bravest heart may swell” damnation de Faust di Berlioz, che lo colpì della sensualità, il che si rispecchia nelle sue un’esecuzione a Strasburgo nel 1860: è in tale [“Duty bids me leave this place” su questo profondamente. Peraltro la sua determinazione composizioni. I suoi oratori ed altri pezzi forma che viene oggi generalmente presentata. disco]. Il successo fu immediato e la romanza è di musicare Goethe non ne venne inibita; fu, al liturgici sono adesso in gran parte dimenticati; Nel 1944 ebbe a Strasburgo la sua bimillesima rimasta di prammatica nei recitals del baritono contrario, uno stimolo. Nel 1849 fece un i suoi lavori per il teatro, o almeno due di essi, esecuzione; nel 1975, al tempo del nuovo da quel giorno. primo tentativo di mettere in musica la scena Faust e Roméo et Juliette, sopravvivono, allestimento di Jorge Lavelli, il numero delle Sir Thomas Beecham fu uno dei principali nella chiesa. rappresentati nelle capitali di tutto il mondo. sue esecuzioni raggiunse il 2836: chiaro fautori del Faust che incise nel 1929 in inglese Incontrò poi gli scrittori che sarebbero stati Le aspirazioni religiose divennero secondarie tributo alla sua longevità e popolarità. In Italia con interpretti tratti dalla British National i librettisti del Faust: Jules Barbier e Michel quando Gounod incontrò Pauline Viardot, la venne presentata per la prima volta alla Scala Opera Company, capitanati da Heddle Nash e Carré, quest’ultimo autore di un dramma, celebre cantante che aveva attirato la sua nel 1862. Molte delle modifiche e dei tagli Miriam Licette, e nuovamente nei tardi Faust et Marguerite, che Gounod vide nel attenzione all’opera lirica, Un altro commento apportati per quell’occasione sono divenuti da anni 40 in Francia nella lingua originale e con 1850. Fu questo a fornire la base per il libretto ci viene dal pittore Delacroix, il quale sostenne: allora tradizionali, compresa l’eliminazione interpreti francesi. Sebbene l’opera abbia dell’opera. Barbier ridusse il dramma alle “Un compositore scrive Faust e ciò gli fa della scena della Walpurgisnacht. sofferto in seguito un certo declino nella stima giuste proporzioni per adattarlo a Gounod. dimenticare tutto sugli Inferi.” La battaglia L’opera fu introdotta in Inghilterra nel popolare è stata raramente esclusa dal Eliminò o compresse personaggi e azione, nell’animo di Gounod fra il sacro e il profano 1863, eseguita poi in ogni stagione fino al repertorio delle compagnie britanniche operazione essenziale quando un dramma si profila in maniera pertinente nella sua opera 1911 (con grande scorno di Bernard Shaw che essendo apparsa regolarmente sia al Covent viene messo a servizio del rallentato corso di più famosa. Abilmente – magari nel la svillaneggiò) in italiano, allora la lingua Garden sia al Sadler’s Wells (più recentemente un’opera. Soltanto ed alcuni subcosciente – Gounod tramuta il teatro in franca dell’opera in Inghilterra come altrove. alla English National Opera nell’assai lodato demoni mantengono il loro carattere pulpito, adattando il suo stile liturgico alle Per la première londinese allo Her Majesty’s allestimento di Ian Judge con John Tomlinson soprannaturale. Siébel è virtualmente esigenze della scena, facendolo in maniera che Theatre la parte di Valentin fu affidata a nel ruolo di Mefistofele). un’innovazione, timidamente e virtuosamente

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innamorato di Marguerite. La complessa sua giovinezza stringendo un patto con il Lo stile di Gounod a quel tempo era ammirato amanti, dal timbro leggiadramente gallico, e psicologia di Faust è ridotta ad una lotta fra Diavolo incarnato. I suoi librettisti gli quanto quello di Verdi o Wagner. In della già menzionata romanza di Valentin, che concupiscenza e puro amore. Marguerite è fornirono proprio le situazioni che gli Inghilterra era visto come il vero successore di sembra fatta apposta per caratterizzare questo semplice innocenza tradita ed alfine riscattata. occorrevano. Mendelssohn. Lo stesso Verdi ammirava onesto personaggio. C’è poi la speranzosa Furono aggiunte la Scena nella Prigione e In gioventù Gounod era stato affascinato da Gounod anche se – forse giustamente – sentiva eccitazione di Marguerite che si rivela nella sua l’apoteosi finale, che non sono presenti nel un lavoro che affronta le stesse questioni del nella sua musica la mancanza di fibra Romanza dei Gioielli, e che è in contrasto con dramma di Carré, e così pure la morte di Faust : il Don Giovanni di Mozart. Nella sua drammatica. La convenzionalità stessa la lievemente arcaica ed elegiaca Romanza del Valentin. autobiografia dichiarò che: dell’opera indubbiamente la rese rapidamente Re di Tule. Gounod finì di comporre l’opera nel 1858. le Le prime note dell’ouverture, con i solenni, accettata, gli schemi musicali essendo quelli Il valzer della kermesse, incontrato così prove al Théâtre Lyrique, di cui Léon Carvalho maestosi accordi tratti dalla scena finale del che erano familiari a qualsiasi amante spesso fuori del contesto, che delicatamente era direttore, seguirono immediatamente. Alla Commendatore, parvero sollevarmi in un mondo dell’opera del tempo, particolarmente i mette a confronto coro e orchesta, è moglie di Carvalho, Marie Miolan, fu affidata nuovo. Mi sentii raggelare in una sensazione di pezzi solistici di Mefistofele, distici, cioè memorabile. I due pezzi a solo di Mefistofele la parte di Marguerite: da ciò la sua prominenza reale terrore. Ma quando ho sentito quel con verso ripetuto, e la cavatina ternaria di possono non avere la sottigliezza della loro nella partitura. La prima dovette essere tremendo, tuonante rotolio di scale ascendenti e Faust, “Salut, demeure chaste et pure” controparte nella versione di Berlioz del rimandata perche il tenore che cantava Faust discendenti, severo ed implacabile come una (This pure abode of simple virtue), con capolavoro goethiamo, ma sono probabilmente perse la voce alla prova generale e fu necessario sentenza di morte, sono stato afferrato da un tale una sezione centrale modulante. I ritmi più considerevoli in termini melodici: il diavolo rimpiazzarlo. La première fu accolta raccapricciante terrore che ho lasciato cadere la di marcia che pervadono parti della musica sembra avere davvero i toni più seducenti in favorevolmente, sopratutto per l’interpretazione testa sulla spalla di mia madre e, tremando nel non sarebbero fuori posto nelle opere di questa insinuante Serenata. Il giovane Siébel è della prima donna. duplice abbraccio di bellezza e di orrore, ho Meyerbeer. ben ritratto nella sua piccola, ingenua romanza. Individui di gusti raffinati hanno spesso potuto solo mormorare: “questa è autentica Eppure questi suoi aspetti non sarebbero Di sicuro effetto drammatico sono l’inno alla criticato l’opera giudicandola un pervertimento musica, davvero!” sufficienti a giustificare l’immensa e costante sera di Marguerite e della parte che in esso ha di Goethe perche non corrisponde alle indagini Così parlò il futuro compositore di Faust. popolarità del Faust. La spiegazione sta nel Faust alla fine dell’Atto III, in cui l’eroe fa filosofiche che Berlioz e Boito hanno affrontato Gounod compose la sua musica sotto dono che è tipico di Gounod: il lirismo, che si ritorno alle sue braccia, mentre Mefistofele più da vicino nei loro melodrammi faustiani. l’influenza di Meyerbeer che – non dobbiamo trova in modo specifico nella cavatina di Faust sghignazza sardonicamente fuori scena; ne si Comprensibilmente – dato i suoi precedenti – mai dimenticarlo – era allora enormemente e nell’esteso duetto del Giardino di Marguerite dimentichi la scena della morte di Valentin e il Gounod si sentiva più coinvolto nell’aspetto popolare in Francia. Fu pure influenzato da e Faust nell’Atto III, cuore stesso dell’opera, trio finale, quintessenza dell’opera tardo – morale: nella rovina di Marguerite, con la sua Halévy e dal Rossini dei pezzi francesi scritti con la sua melodia sensuale e flessuosa. romantica francese. redenzione finale attraverso il pentimento; per Parigi al termine della sua carriera Altrettanto si può dire della breve ma Si tenga poi conto della padronanza della nell’abortivo tentativo di Faust di recuperare la d’operista che toccò l’apice nel Guillaume Tell. significativa scena del primo incontro degli strumentazione che Gounod possiede e che

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particolarmente emerge nell’interazione con le lavoro. 4 Maledice la vita e la vecchiaia, vino scadente offertogli da Wagner fa sgorgare COMPACT DISC TWO voci nel quartetto dell’Atto III, nonché del invocando il demonio affinchè lo aiuti. del vino dall’insegna della taverna e fa un Coro dei Soldati, per quanto volgarizzato sia 5 – 6 Mefistofele appare e gli offre ricchezze brindisi a Marguerite. Ciò manda in furia 1 La sua anziana vicina, Marta, commenta stato nel suo uso fuori del contesto, ma che è e potere ma ciò che Faust brama è la Valentin e ambedue sfoderano la spada. che devono essere un regalo di un ammiratore. altamente efficace al suo posto all’inizio giovinezza, che Mefistofele gli concederà solo se Con la punta della spada Mefistofele 2 – 3 Entrano Faust e Mefistofele. Faust dell’Atto IV. Per quanto lo si voglia denigrare Faust gli cederà la sua anima. Quando Faust traccia un circolo intorno a sé e quando corteggia Marguerite e Mefistofele amoreggia Faust, come melodramma, funziona. È inoltre esita gli viene mostrata una visione della la spada di Valentin lo penetra la lama si con Marta. Marguerite comincia a cedere ma una delle opere più grate alla voce e la musica seducente Marguerite seduta all’arcolaio. Faust spezza. 13 Accorgendosi dell’indentità del si stacca dall’abbraccio di Faust e corre verso di Gounod è stata favorita da praticamente firma il patto, beve dal boccale che Mefistofele suo avversario Valentin e i suoi amici si casa. 4 – 6 Mefistofele fa sprigionare tutti tutte le stelle della lirica sin dalla sua prima gli offre e immediatamente si trasforma in un avanzano verso Mefistofele puntando gli effluvi inebrianti dai fiori notturni, rappresentazione. In un’epoca in cui la giovanotto. verso di lui le impugnature delle loro spade 7 e Marguerite apre la finestra per confessare melodia cantabile nella nuova musica è come a forma di croce. 14 Mefistofele si rannicchia e alla notte il suo amore per Faust. Questi l’araba fenice il dono di Gounod in questo Atto II indietreggia. emerge dall’ombra ed è da lei introdotto campo splende come un faro. Si derida pure 7 C’è un affollamento fuori di una taverna ad 15 – 16 La folla si raduna per ballare. nella casa. quel dono, e quei sentimenti di un tempo una delle porte della città. Studenti, cittadini, Faust e Mefistofele entrano e scorgono passato, a nostro rischio e pericolo. soldati e donne, giovani e vecchi, sono Marguerite. Faust le offre il braccio ma ella Atto IV radunati e cantano allegramente. 8 Il fratello gentilmente lo rifiuta. Faust è più che mai 8 – 10 Marguerite è stata abbandonata © 1999 Alan Blyth di Marguerite, Valentin, e il suo giovane affascinato. da Faust ed è incinta di lui. Va a pregare. amico, Siébel, si uniscono alla comitiva. 11 – 13 I soldati ritornano con Valentin e La trama Valentin ha ricevuto un medaglione da Atto III Siébel cerca di persuaderlo a non entrare in Marguerite prima di partire per il fronte 9 e 17 – 21 Siébel coglie dei fiori per Marguerite casa, ma Valentin lo respinge ed entra. COMPACT DISC ONE chiede a Siébel di vegliare su Marguerite e, come profetizzato, questi appassiscono e 14 Mefistofele canta a Marguerite una mentre egli è alla guerra. muoiono. L’acqua santa scioglie il maleficio beffarda serenata per conto di Faust. Valentin Atto I 10 Wagner cerca di rallegrare la compagnia e Siébel le lascia un mazzo di fiori. si precipita fuori della casa e pretende 1 – 2 Faust, un anziano filosofo, è seduto nel mettendosi a cantare. Viene interrotto da 22 Mefistofele lascia uno scrigno di gioielli per soddisfazione dal seduttore di sua sorella. suo studio. Dispera di risolvere l’enigma Mefistofele che canta 11 la Canzone del Marguerite. 23 Frattanto ella canta una 15 – 16 Valentin e Faust si battono e – grazie dell’universo e, disilluso, decide di avvelenarsi. vitello d’oro e che legge la mano a quelli vecchia ballata 24 e quando trova i gioielli e all’intervento di Mefistofele – Valentin cade 3 Mentre è sul punto di bere il veleno sente che gli stanno intorno; 12 dice a Siébel che l’indossa scorge nello specchio una donna mortalmente ferito. 17 Sul punto di morte voci di donne e di braccianti che si avviano al ogni fiore che lui tocca, morirà. Ricusando il diversa. Valentin maledice Marguerite.

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Atto V Alfredo a Cincinnati; Jenik (La sposa venduta) Nabucco) e al Covent Garden (Elmiro in Opera nella parte della Voce del Paradiso (Don 18 – 19 Marguerite è in prigione per aver e Romeo (Roméo et Juliette) per la Otello e Frère Laurent in Roméo et Juliette ). Carlos), ed attualmente ne è tra gli artisti ucciso il suo bambino e Faust e Mefistofele Metropolitan Opera, New York; Pinkerton Il suo primo Fiesco (Simon Boccanegra)ha principali. I suoi ruoli più importanti vanno a salvarla. 20 Ella sembra riconoscere (Madama Butterfly) per la Houston Grand riscosso un enorme successo, come molte altre comprendono Mimì, Leila, Adina, Nannetta, Faust e ricorda la notte in cui fu sedotta da lui. Opera; Macduff (Macbeth) per Monte Carlo, e interpretazioni verdiane. Micaëla, Marzelline (Fidelio), Lauretta, Oscar, 21 Faust la esorta a fuggire con lui ma il ruolo di protagonista in Faust per i teatri Alastair Miles riscuote altrettanto successo Dorabella e il ruolo di protagonista in The Marguerite chiede perdono a Dio. Mentre ella lirici del Minnesota e di Cincinnati. nella sua carriera concertistica che lo ha portato Cunning Little Vixen (English National muore Mefistofele la maledice ma voci Le apparizioni in concerto comprendono in tutto il mondo e lo ha visto affiancare Opera); Mimì, Susanna (Le nozze di Figaro), angeliche proclamano che Marguerite è salva. una tournée europea con l’Orchestra of the importanti direttori quali Giulini, Mehta, Tebaldo (Don Carlos) ed Elisetta (Il Age of Enlightenment e sir Simon Rattle in Muti, Chung, Masur, Gergiev, Gardiner e le matrimonio segreto) per la Opera North; Traduzione: Marcella Barzetti esecuzioni della nona Sinfonia di Beethoven più prestigiose orchestre del mondo. La sua Donna Elvira (Glyndebourne Touring Opera); (interpretata anche con la Scottish Chamber discografia attualmente comprende ben 42 Anne Trulove (New Israeli Opera e Opera Paul Charles Clarke è nato a Liverpool e ha Orchestra), ed Elijah di Mendelssohn diretto registrazioni, tra cui vanno ricordati Elijah, il Factory); ed Echo (Ariadne auf Naxos) e studiato presso il Royal College of Music con da Andrew Davis a Roma. Requiem di Verdi e Saul e Agrippina di Handel. Madame Silberklang (Der Schauspieldirektor) Neil Mackie. Nel 1989 ha vinto il concorso La discografia comprende Tebaldo (Roméo et Nel 2000 si è esibito per la prima volta in per la Garsington Opera. intitolato a Kathleen Ferrier. Ha interpretato il Juliette) e, per Chandos/Peter Moores recital nel Regno Unito con Roger Vignoles. Nel 1996 ha debuttato in occasione dei ruolo del duca (Rigoletto) per la Scottish Opera Foundation, Pinkerton (Madam Butterfly). La discografia per Chandos/Peter Moores BBC Promenade Concerts con la Royal Opera e l’Opera di Seattle; Fenton (Falstaff ) in Foundation comprende La bohème e un disco nel ruolo di Voce del Paradiso, e nel 1997 si è Giappone e al Festival di Edimburgo; Gran Alastair Miles, considerato uno dei principali di grandi arie operistiche; per Opera Rara, esibita con la Royal Opera di Covent Garden e Sacerdote (Idomeneo), Rodolfo (La bohème), cantanti inglesi, ha cantato alla Metropolitan Medea in Corinto, Orazi e Curiazi, Rosmonda la Metropolitan Opera di New York in Alfredo (La traviata) e il ruolo di protagonista Opera House (Giorgio in I Puritani e d’Inghilterra, Ricciardo e Zoraide e Maria regina Palestrina di Pfitzner. Ha creato il ruolo di nel Faust per la Welsh National Opera; Alfredo Raimondo in Lucia di Lammermoor), all’Opéra d’Inghilterra. Tina in Flight di Jonathan Dove per la e Nemorino (L’elisir d’amore) per la Scottish National de Paris-Bastille (Raimondo, a Glyndebourne Touring Opera, esibendosi poi Opera; Rodolfo e Dmitri (Boris Godunov) per Vienna (La Juive e Giorgio ), a San Francisco Mary Plazas ha studiato con Ava June presso il nello stesso ruolo anche con la Glyndebourne Opera North; Froh (Das Rheingold ), Cassio (Giorgio, Raimondo, e Basilio ne Il barbiere di Royal Northern College of Music, dove ha Festival Opera. Ha cantato nel ruolo della (Otello), Tebaldo (Roméo et Juliette) e Alfredo Siviglia); Amsterdam (Figaro ne Le nozze di ricevuto il sostegno della Peter Moores Duchessa in Powder her Face di Thomas Adès, per The Royal Opera. A livello internazionale Figaro), al Teatro Real di Madrid ( Filippo II Foundation e del Countess of Munster per l’Almeida Opera e all’Aldeburgh Festival, e ha interpretato, tra l’altro, Anatol (Vanessa), in Don Carlos), all’English National Opera Musical Trust. Il suo debutto operistico è ha interpretato il ruolo anche per la rete Rodolfo e Alfredo per l’Opera di Seattle; (protagonista di Mephistopheles, Zaccaria nel avvenuto nel 1992 con la English National televisiva britannica Channel 4. Nell’estate

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2001 ha debuttato presso il Bregenz Festival Si è laureato presso la Guildhall School of La discografia comprende il ruolo di Matthew Hargreaves ha studiato alla nella parte di Mimì, ritornando con lo stesso Music and Drama e il . protagonista di Don Giovanni per Guildhall School of Music and Drama con ruolo anche nel 2002. Studia con Robert Dean. Chandos/Peter Moores Foundation, e Rudolph Piernay; nel 1997 ha vinto Premio Mary Plazas si è esibita in numerosi recital e In teatro è comparso alla Royal Opera, The Wound Dresser di John Adams. Decca nella competizione Kathleen Ferrier. concerti, tra cui recital da solista presso la Covent Garden (Guglielmo in Così fan tutte, il I suoi ruoli comprendono Figaro, Dandini Wigmore Hall e la Purcell Room di Londra, e principe Afron in Le Coq d’Or); Opera North Diana Montague ha studiato presso il Royal (La Cenerentola), Escamillo (Carmen) alla il Karajan Centre di Vienna. Si è esibita anche (Guglielmo in Così fan tutte e Schaunard in Northern College of Music. Dal suo debutto Royal Albert Hall, Fiorello (Il barbiere di in occasione dei festival di Cheltenham, La bohème); English National Opera (Dancairo come Zerlina insieme con la Glyndebourne Siviglia) per la English Touring Opera, e Aldeburgh e Chester. Le sue esibizioni in Carmen); Festival di Almeida; al Teatro Touring Opera è apparsa nei teatri e nelle sale Leporello per l’Opera Atelier di Toronto. concertistiche includono Creation di Haydn, Municipal di Santiago. Numerosi e apprezzati da concerto più importanti del mondo, È apparso inoltre al Festival del Covent A Child of our Time di Tippett, Sinfonia no 8 i suoi esordi al teatro La Monnaie nel ruolo compresi la Royal Opera Covent Garden, il Garden, con Welsh National Opera e Opera di Mahler, Requiem di Mozart, German di Malatesta (Don Pasquale) e Dandini Metropolitan Opera di New York, il Théâtre Holland Park. I suoi dischi includono Curlew Requiem di Brahms, Sinfonia no 14 di (La Cenerentola), con l’Opera delle Fiandre nel royal de la Monnaie a Bruxelles, l’Opéra River (l’Abate) e Maria di Rudenz (Rambaldo) Shostakovich, Sinfonia no 9 di Beethoven e ruolo di Eleckij (La dama di picche), con la national de Paris-Bastille, il Teatro Colon di e Zoraida de Granata (Ali) per Opera Rara. The Promised Land di Saint-Saëns. Glyndebourne Festival Opera nel ruolo di Buenos Aires, oltre ai festival di Bayreuth e Le sue incisioni comprendono Emma Steward (Flight), nelle vesti di protagonista in Salisburgo. La mezzosoprano Sarah Walker ha sviluppato d’Antiocchia di Mercadante e Maria Regina Don Giovanni per Opera North e Pelléas et Tra i suoi impegni figurano Iphigénie en una carriera eccezionale in recital ed opera, d’Inghilterra di Pacini (entrambe per Opera Mélisande per English National Opera. Tauride (a Buenos Aires, Madrid e con la Welsh comparendo in festival, sale da concerti e Rara), Dido and Aeneas per Chandos, L’Enfant Apprezzato per le interpretazioni National Opera), Le Comte Ory (a Losanna, teatri dell’opera in tutta Europa, nell’America et les sortilèges, e, per la Chandos/Peter Moores concertistiche, Garry Magee è comparso in Roma e Glyndebourne), La clemenza di Tito e del nord, in Australia e Nuova Zelanda con Foundation, Marguerite in Faust, Adina, recital al Wigmore Hall, al Théâtre du Orfeo ed Euridice di Gluck (Glyndebourne), e molti dei più rinomati direttori d’orchestra, Zerlina e Micaela. Châtelet e al festival di Aix-en-Provence. Ha Ariadne auf Naxos a Lisbona. Le molte cantanti ed accompagnatori. Il suo repertorio cantato con la Irish Chamber Orchestra, il registrazioni effettuate da Diana Montague operistico va da Claudio Monteverdi (Il ritorno Garry Magee è uno dei migliori talenti vocali Birmingham Contemporary Music Group, comprendono: I Capuleti e i Montecchi, Norma, d’Ulisse in patria e L’incoronazione di Poppea) e drammatici emergenti della sua generazione. l’Orchestra della Komische Opera, la Lucia di Lammermoor, Iphigénie en Tauride, e Francesco Cavalli (La Calisto) a Sir Peter Ha vinto il primo premio al prestigioso Philharmonia, la London Symphony Il crociato in Egitto (per Opera Rara), oltre Maxwell Davies (Taverner) ed Aulis Sallinen concorso Kathleen Ferrier Award nel 1995 ed Orchestra e la Stavanger Symphony Orchestra Cavalleria rusticana, brani scelti da Der (The King Goes Forth to France). Ha stretti è stato premiato anche al Concorso diretta da Harry Christophers e il Requiem di Rosenkavalier e due dischi di arie d’opera (per legami con la Royal Opera, Covent Garden e internazionale Belvedere di Vienna nel 1996. Brahms alla Royal Albert Hall. Chandos/Peter Moores Foundation). si è esibita anche di frequente con la English

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National Opera. Le sue numerose registrazioni Dai buoni auspici degli inizi nel 1945, quando quali l’attuale Compositore in Visita James quindi è diventato direttore d’orchestra rispecchiano l’immensa gamma del suo fu creata da Walter Legge principalmente MacMillan. presso la Städtische Bühnen Dortmund e la repertorio, includendo, su Chandos, musica di come orchestra di registrazione, la L’Orchestra si reca frequentemente all’estero Opera North. È stato Direttore Musicale di Manuel de Falla e Mozart, oltre a Giulio Philharmonia Orchestra ha continuato ad in tournée ed è l’orchestra sinfonica più Opera 80 dal 1983 al 1987 e dal 1992 è stato Cesare, in associazione con la Peter attirare alcuni fra i direttori più importanti del registrata al mondo con ben più di 1000 Direttore Musicale fondatore dell’Opera di Moores Foundation. In Inghilterra, Sarah ventesimo secolo. Hanno collaborato più incisioni all’attivo. Tra queste vi sono, per Almeida. Walker ha ricevuto l’onorificenza del CBE frequentemente con l’Orchestra Otto Opera Rara, parecchi dischi di arie d’opera Lavora copiosamente in opere e concerti, a in occasione del compleanno della Regina nel Klemperer (primo Direttore Principale), nonché undici opere complete (Ugo, conte di livello nazionale ed internazionale. Ha diretto 1991. Lorin Maazel, Riccardo Muti, Giuseppe Parigi, Ne m’oubliez pas, Emilia di Liverpool, diverse produzioni presso la English National Sinopoli, Carlo Maria Giulini, Sir Andrew L’assedio di Calais, Rosmonda d’Inghilterra e Opera e appare regolarmente con la La carriera di cantante di Geoffrey Mitchell Davis, Vladimir Ashkenazy e Esa-Pekka Maria de Rudenz di Donizetti, Dinorah di Philharmonia Orchestra. Nel 1996 ha racchiude un repertorio notevole che spazia Salonen. Attualmente diretta dal Direttore Meyerbeer, Medea in Corinto di Mayr, Orazi e debuttato con Così fan tutte al Glyndebourne dalla musica antica a quella contemporanea e Principale Christoph von Dohnanyi e con Curiazi di Mercadante, Maria, regina Festival, dove nel 1998 ha diretto la prima che l’ha portato in Scandinavia, Germania, Leonard Slatkin in qualità di Direttore d’Inghilterra di Pacini e l’Otello di Rossini). mondiale di Flight di Jonathan Dove. nella ex Cecoslovacchia, in Canada e Ospite Principale, l’Orchestra ha L’Orchestra ha registrato numerosi dischi È un frequente visitatore della Spagna dove Australasia. L’esperienza di direzione degli inizi consolidato la sua posizione centrale nella per la Chandos, tra cui, nelle serie di si è esibito in concerto con la maggior parte con la BBC lo ha condotto ad un maggiore vita musicale britannica, non solo a Londra Opera in English con il patrocinio della delle maggiori orchestre spagnole. Ha diretto coinvolgimento con i suoi stessi cantanti e dove è Orchestra Residente al Royal Peter Moores Foundation, L’elisir d’amore, la prima spagnola di Peter Grimes a Madrid e inoltre alla creazione del Geoffrey Mitchell Festival Hall, ma anche nella società in Faust, La bohème, Tosca vincitrice di un premio nel 1996 la prima produzione spagnola di Choir. Le prime registrazioni sono sfociate nel senso più ampio attraverso soggiorni sul e otto album con recital da solista di arie The Rake’s Progress. È apparso in Germania, coinvolgimento a lungo termine del Coro con territorio. d’opera (con Bruce Ford, Diana Montague, Svezia, Paesi Bassi, al Festival di Pesaro in Opera Rara, per la quale ha inciso più di L’Orchestra ha ricevuto diversi premi Dennis O’Neill, Alastair Miles, Yvonne Italia, al Festival Internazionale di Hong Kong, trenta registrazioni. Il Coro gode di una fama importanti ed ha conquistato il plauso della Kenny, Andrew Shore e due con John in Giappone con una tournée della Carmen e sempre maggiore con ulteriore lavoro dalla critica grazie alla sua vitalità e al calore unico Tomlinson). in Messico con la UNAM Symphony BBC e da case discografiche internazionali. Per del suono. È stata lodata sia per la sua Orchestra. Recenti nuove produzioni da lui la Chandos il Geoffrey Mitchell Choir ha programmazione innovativa, al centro della David Parry ha studiato con Sergiu dirette comprendono il Fidelio al Festival della partecipato a numerose registrazioni nelle quale vi è un impegno ad interpretare e Celibidache ed ha cominciato la sua carriera Nuova Zelanda, Maria Stuarda al Teatro di applaudite serie di Opera in English con il commissionare una musica nuova dei come assistente di Sir John Pritchard. Basilea e Lucia di Lammermoor alla New Israeli patrocinio della Peter Moores Foundation. principali compositori viventi al mondo, tra i Ha debuttato all’English Music Theatre, Opera.

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Il suo lavoro in studio di registrazione (con Bruce Ford, Diana Montague, Dennis comprende la produzione della BBC di O’Neill, Alastair Miles, Yvonne Kenny, John Der Vampyr di Marschner nonché ventuno Tomlinson, Andrew Shore e Della Jones), registrazioni operistiche complete con il nonché, Lucia of Lammermoor, Aida, Don patrocinio della Peter Moores Foundation. Tra Giovanni, Ernani, Faust, Don Pasquale, The questi vi sono numerosi dischi per l’etichetta Elixir of Love, La Bohème, Cavalleria rusticana, Opera Rara che hanno vinti parecchi premi, tra Pagliacci, Tosca (vincitrice di un premio) e cui il belga Prix Cecilia per la Rosmonda brani scelti da Der Rosenkavalier, tutte in d’Inghilterra di Donizetti. Per Chandos ha collaborazione con la Peter Moores diretto nove registrazioni di arie d’opera Foundation.

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Alastair Miles as Mephistopheles in Paul Charles Clarke as Faust in Welsh National Opera’s production of Welsh National Opera’s production of Gounod’s Faust Gounod’s Faust Photo by Bill Cooper Photo by Bill Cooper CHAN 3089 BOOK.qxd 21/5/07 5:11 pm Page 70

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

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

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Act II find it much the same! Young Girls It’s thus the whole world over At one of the city gates, on the left an inn with a If you’re fearless and handsome We try to please them, when women ensnare men! sign showing the wine god Bacchus victory is sure. what is the use? Some husbands have to swallow a lot! Make them yield and pay the ransom; (to the older women) Their wives are always right in the end! Scene 1 claim the spoils of war! How they whine and whimper Let nothing hinder a man Chorus now their day is past! from enjoying his glass! Another glass! Townsmen Taunting words are hollow, Nothing should hinder Students Life at home is scarcely exciting; we don’t care a jot! the joys of the glass! 7 Beer or gin that’s why we tell stories of war, Life is getting shorter; Young Students or wine or kvass, while remaining safe and secure, now’s the time for fun! joy lies in a far from any fighting! We’ll stop our teasing, Just in case we never let’s call a truce. full glass! Sundays are spent passing the time have the chance again! Legs are hollow, down where the river murmurs gently, Watch their tempers simmer; heads are hot; watching all the boats sailing by Matrons what a childish farce! drunkards swallow till the bottle is empty! Your looks are pleasing, In the end we shall the lot! put them to use, overcome the lot! Young Girls before your sins Now we come to court her, Wagner Do you think those lads have seen us come home to roost! who will be the one? Ale or port as they swagger past? (to the young girls) Goddess, be my lover, or punch or rum, Now the crowd has come between us; How they smirk and simper, say we’ll meet again, only water don’t walk on so fast! just as bold as brass! yes, say when will we meet again? we shun! Impudent and shallow Watch their tempers simmer; Wine’s your lover, Young Students Jezebels, the lot! they lose them so fast! beer’s your friend; Have you seen such airs and graces? Mother never taught her What a childish farce! drink forever, We shall spoil their plan! how to turn them down. Amen! Friends, beware of their embraces; She will be forever Students Here’s to the booze! Students stay free while you can! chasing after men! Beer or gin Ale or port etc. Matrons Townsmen or wine or kvass, Soldiers All this silly girlish teasing We shan’t refuse joy lies in a Soldiers storming a fortress fools men every time! to put this wine to proper use! full glass! play a daring game! They forget we grow more pleasing Another glass, it won’t be the last! Legs are hollow, Soldiers courting a mistress as we reach our prime! Some husbands have to swallow a lot! heads are hot;

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

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All Wagner (Wine flows from the barrel.) Valentin And the Devil leads the dance! And so? Please be my guests! …the devil… I’ll try to satisfy any requests! Mephistopheles Mephistopheles Wagner and Students Where were we now? Yes, I’ve remembered; Bow ye gods to the golden calf! A dreadful omen! …the devil… we were drinking a toast to Marguerite! In his tawdry, You’ll meet your final hour as you lead the attack! Valentin, Siébel, Wagner and Students worldly glory, Valentin Siébel …will find this cross can thwart the power of evil! howling his vile, blaspheming laugh! Is this some magic power? Enough! Treat her name with respect or your days here The blessed cross will thwart the power of evil! He despises human sorrow Mephistopheles (taking Siébel’s hand ) are numbered. and the seething human hordes, I seem to have a knack; (Everybody leaves. Mephistopheles remains, who, with blood-encrusted swords, the truth lies in your palm: I can tell you are Wagner and Students (drawing their swords) subdued.) swarm down every slimy furrow Hola! cursed Scene 4 as their lust for gold demands, and than any flower still in bloom and the Devil leads the dance! Mephistopheles (mockingly) will die if you touch it. Why shake with fear when you threaten my life? Mephistopheles 14 All Siébel (He traces a circle around himself with the point of You haven’t seen the last of me yet! And the Devil leads the dance! Me! his sword. Valentin goes to attack him, but his Au revoir! Recitative and Chorus Mephistopheles sword breaks in the air.) Faust (entering) No more bouquets for Marguerite! Valentin What is wrong? Students My blade has been shattered 12 Your song deserves our thanks! Valentin Mephistopheles For whom? Was that my sister’s name? and the splinters scattered! Nothing! I’m all ears, Doctor Faust! Valentin Mephistopheles (Valentin and the rest advance on Mephistopheles, What is your dearest wish? I’m here at your An unusual person! A suggestion to guide you; holding towards him the cross-shaped guards of disposal! their swords. Mephistopheles backs away.) Wagner Your murderer, my friend, is a colleague of mine! Faust Can we tempt you with a glass of this excellent (snatching the cup from Wagner) Siébel, Valentin, Wagner and Students Can you find me the lovely girl 13 wine? Your very good health! Though the fiends of hell may defy resistance, brought to life by your art? (He tastes the wine and throws it from the cup.) we can still prevail with divine assistance! Was she real or illusion? Mephistopheles Peuh! This is horrible wine! Valentin Mephistopheles Yes, of course! Life will improve with a decent vintage inside you! Though steel may dissolve in his hands… (taking Wagner’s hand and reading his palm) (striking on a barrel surmounted by a figure of Quite real! Virtue defends her against our Ah! Your hand bears an ominous sign! Bacchus, which serves as a sign for the inn) Wagner and Students intrusion; There’s a break in your lifeline. Hola! Bacchus, wake up! We’re thirsty! Though steel may dissolve in his hands… she puts her trust in a higher world!

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Faust Siébel (approaching Marguerite) Faust Act III I’ll have her nonetheless! Come, if you can’t Marguerite. And so… she has refused me! 17 Entr’acte produce her Mephistopheles (stepping forward and blocking Mephistopheles (laughing) find another master to serve! Siébel’s way) Cheer up! Don’t be depressed; Scene 1 Mephistopheles You called? if you must fall in love Marguerite’s garden. At the back, a wall with a I shall help in your quest! Say no more! My employment here is more than Siébel little door. A bower on the left, a house on the right I deserve, Damn your banter! Let me pass! (He goes off with Faust in the direction taken by with a window facing the audience. Trees and I wouldn’t like to lose the job, as I will prove to Marguerite.) shrubs etc. Siébel enters and stops by a bed of roses you, sir! Mephistopheles and lilies. She’ll be here… at this spot, answering my What marvellous luck; you’re still here! Some Girls command; Ha ha! Come now… Don’t be shy… I won’t bite! Did you hear? Siébel 18 You must help me reveal beautiful, chaste and young as my master (Siébel recoils from Mephistopheles, who chases him Other Girls demands! the love I feel. around the scene behind the dancers.) Marguerite As you open before her rejected him outright! You’d think she’d be Scene 5 Faust (accosting Marguerite) tell her how I adore her. 16 May I presume to ask, most beautiful of ladies, discreeter! Let your presence impart Waltz and Chorus if you will take my arm and walk with me today? my secret heart! (Students and girls enter arm-in-arm followed by Students and Girls Marguerite One, two! Take to the floor! Be the ardent expression musicians. The townspeople are behind them. The of an innocent passion; musicians begin to play.) Thank you, no! I am neither a lady nor a beauty, Let’s dance some more! and need no helping hand to guide me on my bear my love to her there All Chorus way! on scented air! 15 Just as when the whispering breezes Just as the whispering breezes etc. (He plucks a flower.) blow hither and thither and yon, (She leaves.) They spin till they’re dizzy, It’s faded! whirling clouds of dust along, Faust (gazing after her) then once again. That damnable fiend wields a power so the waltzers’ joyful sallies By the Lord! What refinement, what lack of Their God has no mercy, that Nature obeys! set alive the hills and valleys affectation! pleasure’s his name! (He throws the flower away.) with the sound of rousing song! Child of my dreams, I love you! The world is in motion When I pluck any lovely flower and racing by, it withers away! Faust Siébel (returning) what joy! What elation What if I dipped my hand in holy water? There she is! My vision! I must have missed her! in every eye! (He dips his fingers in a little font attached to the Mephistopheles Mephistopheles (to Faust ) The world is in motion, wall.) Speak up! This is your chance! And so?… crowds go racing by. At prayer here every day I have seen Marguerite!

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I’ll try once again! Now or never! Faust Faust Scene 5 (He plucks another flower.) Siébel! Let me be! Mephistopheles (re-entering, carrying a jewel Are they still living? Yes! Then Hell has lost its Mephistopheles case) power! Mephistopheles As you say, I won’t be far away. 22 Be careful! Here she comes! You must go in my place Sh! See for yourself! Jewels will overshadow his bouquet, to her embrace. (He leaves.) (They conceal themselves.) and if not I’ll give my powers away. Be the delicate language that disguises my anguish, Siébel (returning, unaware of the presence of Faust Scene 4 Faust but allows her to know and Mephistopheles) Let’s go! I don’t want to see her again! Cavatina I love her so! Who’d resist such a sweet bouquet? Mephistopheles You must go in my place Faust Mephistopheles (aside, mockingly) Give your conscience a rest. to her embrace. 21 What turbulent feelings possess me? So sweet! Put this box in the doorway; When the flowers surround her It must be love that begins to obsess me! she’s bound to find it there! with their perfume around her Siébel Oh, Marguerite! I am here at your feet! (He puts the casket next to the flowers.) she will never resist Victorious! This pure abode of simple virtue I feel lucky today! one tender kiss! I’ll tell her how I overcame the trials he set me, charged with the essence of compassion Just one kiss, and if she wants to know how my heart is enslaved, is blessed by the light of her presence! (Mephistopheles leads Faust away. They hide in the one tender kiss! one sweet kiss shall be her answer! What riches lie in poverty concealed! garden.) What sweet content these humble walls may Mephistopheles (mockingly) Scene 2 yield! How depraved! Bounteous Nature, here she received the gift of Scene 6 Scene and Recitative beauty, (Marguerite enters through the little door and (Mephistopheles and Faust enter cautiously.) (Siébel fastens the bouquet to the door and leaves.) and here your watchful eye kept her safe night comes silently to the front.) Faust and day Scene 3 Recitative 19 Are we there? with the fondest of care. Mephistopheles Mephistopheles (to Faust ) Here, heaven’s inspiration brought her a woman’s Marguerite 20 23 Follow me! Wait here for a while, Doctor Faust, feeling, He would have held my hand if I’d only allowed and the charming bouquet presented by your and through the power of love an angel from him. Faust pupil, above I still don’t know his name, or the least thing Did you see someone else? I’ll match with a treasure so rare, came to answer my prayer! about him! Mephistopheles jewels so far beyond compare, Within, yes, within. (She sits down at her spinning wheel and as she Siébel, looking for love! even dreams cannot show their equal! This pure abode of simple virtue etc. spins she sings an old ballad.)

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Song of the King of Thulé 24 A bouquet! Can it be Marguerite? COMPACT DISC TWO It’s from Siébel I’m sure. Poor foolish boy! Answer me! Answer, are you Marguerite? Marguerite (She sees the jewel case.) No, no, this is not you! Scene 7 ‘Once a faithful King of Thulé But what is that? This is a stranger before me. mourned his lady fair, his beloved. Martha (entering) Why on earth is this casket at my door? She’s a fairy tale princess. 1 In her memory he forged a goblet Bless my soul, I’m dreaming! I’m frightened to touch it… Then again… This is not you, all of gold, as bright as the day.’ You’re looking simply lovely, my darling! There is a key to try… but a princess accustomed Is the jewel box a gift? He was handsome and charming as far as I could I’ll turn the lock! I’m so nervous… But why? to honour and glory! Marguerite say. If I open the lid, who could blame me for Ah, if my love could see Alas! I suppose it was brought by mistake. ‘As he sat in pomp and in splendour, looking? this wond’rous change in me, always he kept it by his side, (She opens the casket.) he’d find a village maiden Martha and when he drank the red, red wine Oh God! What are these jewels? as lovely as any lady. Not at all! his eyes would fill with tears so tender! Like a magical dream Ah, he’d find a village maid If you found them, you keep them. Say no more ‘As every life must one day end, their colours blaze. It’s no illusion! could be a noble lady! about it. so the King, on his death-bed lying, My eyes are overwhelmed (She goes back to the jewel case.) They’re for you, from a secret admirer of course! called for the cup as he lay dying, by their wanton profusion! Like a new butterfly emerging, Husbands are not so free as I know to my cost! raised it up with a trembling hand!’ (She puts down the casket and kneels to look at the gems too rich and rare to resist (Mephistopheles and Faust enter.) entwine my throat, adorn my wrist! I talked a lot of nonsense, why did I blush like jewels. She takes out the earrings.) (She puts on the bracelet and the string of that? I don’t know if I dare Scene 8 pearls.) have the boldness to wear Mephistopheles (saluting) ‘He smiled, for his sorrows were over. Ah! Like a living hand clasping my arm in this pair of golden earrings! 2 Dame Martha Schwerlein, I believe. Draining the wine he sighed “Farewell!” Ah, I see what I need; right here inside the greeting! As the cup lay still where it fell casket Ah! I see beauty gaily laughing in the Martha he went to meet his own true lover.’ there’s a mirror. glass! etc. What presumption. He was so bold, yet he suggested nothing wrong. I know what I want to ask it! Marguerite, is this a dream? Mephistopheles The manners of a lord! Will it vanish before me? Forgive me for intruding, ma’am, we mean no (She puts the spinning wheel away.) (She puts on the earrings and looks at herself in the No! It’s the face of a queen harm! Ah well, life carries on! mirror.) crowned with honour and glory! (aside to Faust) Dear Valentin! May God protect you You can see that the jewels have worked like a The Jewel Song while you’re far away! charm! I’m alone with the moonlight. Ah! I see beauty (aloud ) (noticing the flowers) gaily laughing in the glass! Dame Martha Schwerlein?

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Martha Mephistopheles Mephistopheles (aside) (They walk together into the garden. Faust and I am she. No! So take my advice; embark on a new life; go I’m afraid she’s no spring chicken! Marguerite re-enter.) out and find Marguerite Faust Mephistopheles a man to take his place tomorrow! I’m entrusted I am conscience stricken! You seem… very lonely. with a message; prepare for a terrible shock. Faust (to Marguerite) Martha Marguerite Your absent husband, madam, is dead, buried Why remove the jewels you wear? I’m a little smitten! My brother’s at war, I have lost my mother, and burning! Marguerite and sorrows come never alone Faust for the sister I love is gone. Martha I should never have put them on, How my heart is stricken! Poor angel! God knows how much I loved her! Oh God! in truth they’re only borrowed… (Marguerite takes Faust’s arm and they walk In life we were never apart (She faints.) Mephistopheles (with affected ardour, to Martha) together in the garden.) and our happiness seemed forever! Any man worth his salt would be proud to ensnare But those whom God calls first to heaven Marguerite so choice and fair a widow! Martha are the young and the pure-at-heart! What is wrong? You say you travel all the time? Martha (aside) Every moment of the day Mephistopheles (reviving Martha) Ah! Bah! Mephistopheles she would be there, trying to make me smile. Nothing! (aloud ) Indeed. Work is a heavy load to carry, Despite the pain, despite the sorrow, Go on… without friends, or a home, unmarried! Ah! I’d relive everything tomorrow Martha just to have her here for a while! Oh, what dreadful luck! He will not be returning! Mephistopheles Martha Faust Marguerite (aside) Ah, death! No man escapes your shadow! That may suit a man in his prime. But one day you’ll feel the terrible sadness If the Lord followed your example, When I see him, I tremble, Quartet on the day of your sister’s birth how my face must be burning! of growing old alone and friendless. Faust (to Marguerite) Old age can be friendless! a blessed angel came down to earth! Mephistopheles (to Martha) 3 Please take my arm, they won’t mind! Mephistopheles Marguerite Your absent husband, madam, is dead, buried Thoughts of such a miserable fate Why mock my words? and burning! Marguerite Don’t ask, it wouldn’t be fitting! fill my soul with grim trepidation! Faust Faust (aside) Martha No! I’m a lover. The sight of her dispels this tempestuous Mephistopheles (offering his arm to Martha) Beware too much procrastination. Take my arm! Marguerite yearning! Think, dearest sir, it’s not too late. You are not sincere, Martha (to Mephistopheles) Martha (aside) Mephistopheles secretly you jeer Was anything left for his wife? He’s so refined! First-rate advice! at me and my lack of breeding.

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Whatever you say Marguerite (to Faust ) Martha (off-stage) Where the soft silver light I should not remain… You have to go… It’s nearly night. Don’t go far! adorns your flawless face with a pure and chaste How my heart is beating! Faust Mephistopheles reflection, It’s wrong! Beloved! Au revoir! surpassing the beauty of the night! Yet my heart is wildly beating! Marguerite Marguerite Faust You must leave! Scene 10 In the silence I am moved by a joy so Take my arm, my dear. enchanting! (She slips away from him and goes out.) Mephistopheles (alone) Life and dreams drift apart… God has led me here 4 Faust (following her) And none too soon! and smiles on our meeting I hear and understand this voice so beguiling Don’t desert me! Why take flight? Under the looming shadows which sings here within my heart! so why be afraid, alas, they walk, happy to be with each other… to believe what I say? Mephistopheles (taking her hand away from him) Well, well, I shall not interrupt A moment’s pause, I beg you… Hear a lover’s entreating! She’s a little near the knuckle! or I may break the spell! I’m in retreat! Oh night, unfurl your welcome shadow! Faust (Mephistopheles and Martha reappear.) (He hides behind a tree.) Oh love, deafen their conscience to untimely What is this? remorse! Martha (to Mephistopheles) Martha (aside) Marguerite (plucking the petals from a flower) And now, see how my powers force Have you stopped your ears? I’ll be more subtle. It’s just a game! all the flowers to bloom, sweeter and ever sweeter, Or perhaps you sneer (aloud ) Don’t fret, indulge my whim! till their scent bewitches the heart of Marguerite! at my lack of breeding! I say… Where has he gone? Young man! Faust Don’t hurry away, (He disappears in the shadows.) You talk so low I can’t hear you. I’ve not had my say, Mephistopheles Marguerite why are you retreating? Yes! Scene 11 He loves me… No, he loves me not… Must you rush away? Martha Duet He loves me… Not… He loves me… not. Won’t you stay? He loves me! Mephistopheles Marguerite (returning with Faust ) Do not shed a tear, Mephistopheles 5 It’s very late… Farewell! Faust our time has surely been too fleeting! Catch if you can! Yes, the flower cannot lie, the truth lies at your Do not shed a tear, Ouf! That relentless old Medusa Faust feet. I must disappear. is so keen to trap a man How can you be so cruel? Let your heart hear its voice, the voice of heav’n The beautiful things that you say she wants Satan to seduce her! Think twice. Hands such as yours were designed above you: make me long to stay, Faust (off-stage) for caresses. He loves you! Do you know how much those that needs no repeating! Marguerite! Let my eyes take their fill of perfection! words can mean?

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A love… Ever renewed, like a phoenix from the Marguerite Faust Mephistopheles ashes; You must go! Before I leave you, Let’s hear, if we may, rising to burn again with a joy everlasting! Go now, I beg! Yes, you must leave me speak once again to seal the spell! just what else she will say alas, I’m frightened, you must depart! You love me? when she’s alone again Marguerite and Faust Your love may break my heart, you must believe me! with the starlight… Dear master! Everlasting! (Marguerite, hastening towards the house, stops for (Marguerite opens her window.) Faust Faust an instant on the threshold and blows a kiss to Oh tender moon that fills the night You mean I should desert you? Faust.) oh radiant love What bitter pain, alas, Scene 13 if we must part, Marguerite! Marguerite whose secret joy gleams pure and bright, Mephistopheles Leaving you will surely break my tender heart! Farewell! shine your light down 7 Look there! She’s opening her window… Have compassion! upon these lovers! Faust Marguerite Marguerite Marguerite My joy is unconfined! Ah! Farewell! He loves me! What pleasure and pain! Let me be yours, I lay my life You should not have spoken… (He starts for the garden door, but Mephistopheles In the darkness my heart rejoices! here before you! Faust bars his way.) Nature’s untold myriad voices You are my all, I adore you, Marguerite! seem to swell the refrain my love will never die! ‘He loves you!’ Ah! Now my life has meaning! Marguerite Say it… Say you love me! The night is my friend, I am reeling, By the love you bear, love now confessed, Scene 12 drunk with all the pleasures of love, Faust grant me as a token like the leaves my heart trembles and flutters! 6 Mephistopheles Marguerite! of vows as yet unbroken, Come soon, ah, come my only love, So imprudent! Marguerite (tearing herself away from his oh, grant me this request! hurry to me! Come! embrace) Faust Faust Faust (rushing to the window) Ah! Please go! Oh, pure untainted girl! Did you overhear? Marguerite! Chaste and unworldly Faust Mephistopheles Mephistopheles You’re heartless! your power has moved me and claimed possession of my will! Every word! Ha, ha, ha, ha, ha! Marguerite I obey… but tomorrow… Your eagerness is too absurd! Marguerite I am helpless! It’s hard to believe you’re my student. Ah! Marguerite Faust Yes, tomorrow… I’ll be waiting. Faust (She gives herself to Faust’s embrace. Mephistopheles I cannot let you go! Have mercy! Come soon! Come soon! Go away! laughs loudly and cynically as he leaves the garden.)

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Act IV no consoling word, alas! Siébel I share your grief as if I were a brother, What star does he follow? I’ve the strength of a child, but I’m a man in spirit! oh, Marguerite, oh, Marguerite, Scene 1 When will he return? I’ll exact my revenge for his cowardly flight! blameless and chaste, my selfless love endures! Marguerite’s Room In silence I smother I’ll have his life! the grief I must suffer! Marguerite Marguerite Marguerite My tears flow unheard. God will reward your love, it brings me consolation. 8 They pass me in the street… How we laughed But whose? How I bear my sorrow Though I may risk contempt and condemnation in the old days, he will never learn! Siébel I’ll go into the church. They cannot bar my way! long ago… but now… How I long to hear him, I’ll tell you if you wish it… The child that I shall bear; for his sake I will pray! Girls’ Voices (off-stage) to see him again! The traitor I despise! Her unknown lover lived to fight another day! My courage is spent, Marguerite Scene 4 Ha, ha, ha, ha, ha! my spirit is weary! No, say no more! When will he return? The Soldiers’ Chorus The Spinning-wheel Song Oh my love, where are you? Siébel Soldiers Marguerite Put an end to my sorrow All right! Will you always love him? 11 Come along my brothers, They have cast me out! Ah, how heartless! if you love me! Marguerite lay down your arms at last now the fighting is I was always first to blame others’ weaknesses, (Siébel enters hurriedly.) Yes! I will! done. and quick to stand in judgment! But I’ve no right to ask for sympathy from you. Our sisters and mothers So today they condemn me with pitiless fervour. My poor Siébel. My troubles hurt you too. can dry their bitter tears and greet us every one! Time has brought a shameful return. Scene 2 March homeward my brothers, Even though heaven knows it was not base Scene and Recitative (Siébel takes Marguerite’s hand.) our sisters and mothers corruption Siébel Romance are all drying their tears to greet us every one! which led my soul towards perdition, 9 Marguerite! but love, gentle love alone. Siébel Valentin (noticing Siébel ) When will he return? Marguerite 10 When happy days bring you gladness and By the Lord, it’s Siébel! Contentment was fleeting, Siébel! laughter, Siébel (embarrassed ) wretched now, I yearn, seeing your joy my sadness disappears. Siébel As you see… I… each hour keeps repeating… But if the pain and sorrow follow after, Again in tears! When will he return? oh, Marguerite, oh, Marguerite, Valentin What star does he follow? Marguerite I shed a tear to mingle with your tears! Embrace me, Each empty tomorrow Alas! We are two flowers that bloom beside each other; welcome me home! affords me no word, They’ve all forsaken me but you. destiny guides us on a single course. Where’s Marguerite?

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Siébel Friends and lovers cheer; we’re home at last, Valentin Mephistopheles She’s still at her prayers, I suppose. a time for joy and celebration. Let me past, let me past! The choice is made, I cannot fight such Though many a heart is beating fast overpowering passion. Valentin when they recall the dangers past. (He rushes into the house.) But, if you wish to gain admission Prayers for my safe return! What jubilation! you’ll stand a better chance with the help of my She’s a saint! Siébel And now we may claim voice. When all the tales are told of our exploits in battle Try to be kind! the victor’s embrace! (Faust, deep in thought, moves away.) she will hang on every word! Oh God, do not desert her! (The Soldiers march off. Valentin and Siébel remain.) Protect her to the last! (Mephistopheles accompanies himself on the Soldiers guitar.) Home by the hearth merrily burning, Scene 5 stirring tales frightened children beg to hear once Serenade Recitative Scene 6 more (Faust and Mephistopheles enter, the latter carrying 14 ‘Is my love awake or sleeping, from the brave soldiers returning. Valentin a guitar. Faust goes towards Marguerite’s house, does she hear my call? Evoke the cannon’s roar, 13 Come on, Siébel, I need a drink or two! then stops.) Catherine, oh my sweeting, and echo the turmoil of the war. We’ll go inside then I can hear the news! don’t you hear my call 12 We seek the soldier’s immortal prize; Mephistopheles Siébel as the shadows fall?’ glory or death under foreign skies. Why wait another moment? No… You must wait! When your lover comes a calling Conquering sons of a warrior race, Let’s go into the house! then your heart takes wing. our courage defies the danger we face! Valentin Ha, ha, ha, ha, ha! Faust If to lay down our lives But why? Don’t unlock your door my darling A plague on you! I fear is our destiny Why this strange inhibition? till you wear his ring! for the land of our birth Look directly at me… misfortune and disgrace once more follow me ‘Catherine, I adore you, and our liberty, Siébel, what does this mean? here. will you keep our tryst? then our voices unite Siébel (with an effort ) Mephistopheles Why refuse when I implore you; in the battle cry! You see… You are wasting your time. You loved her and will you crown our tryst March on to the fight, No, I cannot… you left her! with one tender kiss?’ to win or to die! Now it is time to go where we will be more When your lover comes a-pleading Home fires await, Valentin (starting towards the house) then your heart takes wing. What are you hiding? welcome. our task is done, Come, the Sabbath awaits! Ha, ha, ha, ha, ha! our spirits soar in expectation. Siébel (trying to hold Valentin back) Don’t give him a kiss, my sweeting, Peace is restored; the war is won, Please listen! Faust till you wear his ring! our homes await, our task is done. Don’t condemn her unheard. Marguerite! Ha, ha, ha, ha, ha!

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Scene 7 Valentin Spilling his blood makes vain Women and Men Trio: The Duel Oh God above, inflame my fatal resolution! all hopes of my salvation! He is barely alive; look and see if he’s Redouble my fatal resolution! To spill his blood breathing. Valentin (rushing from the house) His blood will clear my name, ends all hope of my salvation! Quick, over here! He needs our help at once! 15 What can I do for you? the blood of retribution! Hurry up! Mephistopheles Mephistopheles Faust (aside) All his threats are in vain, Valentin (raising himself with an effort ) My friend, we have intruded. How gauche! My courage and purpose wane his rage inspires derision. Enough! It was not to yourself my serenade alluded. before such resolution! When he strikes I’ll strike again Save your breath and spare me your pity! Spilling his blood makes vain Valentin with terror and confusion! I’ve turned away the hand of death too many all hopes of my salvation! My sister would enjoy your charade more than I! times; To spill her brother’s blood makes vain Valentin now he claims his due! Faust (aside) all hopes of my salvation. I’m ready! Take up your guard! His sister! Valentin (grasping the medal which is hanging Mephistopheles (softly to Faust) Marguerite (appearing at the back with Siébel ) (Valentin shatters Mephistopheles’s guitar.) around his neck) Keep as close as you can. Valentin, Valentin! Mephistopheles And you, my sister’s parting thought. Concentrate on the thrust, do you hear? I will You were my guardian and companion, parry. (She pushes through the crowd and kneels beside What a crude exhibition! Valentin.) Clearly you are not a musician! but now I scorn the help you brought accursed medallion, (They fight. Valentin falls, mortally wounded.) Valentin Valentin your help has been too dearly bought! Mephistopheles You try my patience! Reply! Marguerite, you too? What do you want? (He throws the medal away.) How are the mighty fallen from hero to carcass! (He pushes her away.) Which one of you will give me satisfaction And now, make your escape! And hurry! for this disgrace and degradation? Mephistopheles (aside) Go home! Which one will die in defence of his cause? An act you may regret! (He drags Faust away.) Valentin Marguerite (Faust draws his sword.) Oh, God above, inflame Scene 8 Oh God! my fatal resolution! Mephistopheles Valentin Redouble my fatal resolution. The Death of Valentin Since you insist… Go on, my friend the floor is She’s killed her brother! His blood will clear my name, Martha and Women yours! I fought her lover the blood of retribution! 16 Over here, come at once! All his threats are in vain. to defend our family name! His rage inspires derision. Faust They were fighting in public, When he strikes I’ll strike again My courage and purpose wane now one lies wounded there. Crowd with terror and confusion! before such resolution! Come and see, here he is! She’s to blame!

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Siébel (to Valentin) Crowd Scene 5 You come to reclaim me Spare her, What a vile profanation! Faust and your love will save me. you are her brother! In your ultimate moment, You’re here, I give you my heart! 19 My heart quails at the thought of this meeting! Spare her, think what you do, Oh, what torture! Faust spare her this bitter pain! and ensure your salvation! Oh, source of vain regret and everlasting pain! Yes, I an here, beloved. Forgive her, and your God will have mercy on you! Marguerite I’ve found her here, at last, that sweet and gentle Though hell close above you I shamed my brother! Valentin creature, we shall never part! What bitter pain! Marguerite, my curse upon you! condemned unfeelingly to pine beneath a I come to reclaim you Death waits for you as for us all. melancholy burden, and my love will save you. Crowd I… must die by your hand… like a soldier I fall. while black despair has disordered her mind… I’m here, I give you my heart! He fought her lover; Crowd By violent means her child, our wretched child, (He tries to take her away. She gently avoids his arms.) if he should die then she’s to blame! God, in your infinite mercy, forgive him his sins. was killed… Her guilt is certain! Marguerite! Marguerite! Marguerite (her mind wandering) Valentin Not yet! Here I was walking Marguerite (waking) 17 Pay heed to my words, Marguerite! Act V when you first saw me, 20 Ah! Do I hear my lover’s voice? Every creature on earth must meet the dreaded Scene 4 it seems so long ago. reaper, Hearing him call, my heart wakens to joy! And there your hand Prison Scene and when he comes, seeking his prey, Faust almost dared to caress my own. (Marguerite is asleep. Faust and Mephistopheles we must bow to our fate; God has ordained the Marguerite! ‘May I presume to ask, most beautiful of ladies, enter.) day! Marguerite if you will take my arm and walk with me today?’ You! Now you run headlong towards Faust (to Mephistopheles) Through the harsh din of the demons’ screeching. ‘Thank you, no, I am neither a lady nor a beauty, perdition, 18 Go back! His voice reaches my ears, quelling the Devil’s roar! and need no helping hand to guide me on my you will forget how to work for your bread! Mephistopheles way.’ Since you now live for self-gratification, Faust It’s almost daylight, the scaffold is prepared; Marguerite! Faust duty and trust, virtue and truth are dead! You’re wasting time; she is yours for the taking. Marguerite Yes, it lives in my heart! Go! Oppressed by dishonour They’re all asleep, here are the keys. I see his gentle hand beseeching. Come along, we must hurry! and beset my remorse! Now only you can save her. She is waiting. Hear this as I leave you: Grant me freedom! He is here! I am free! Marguerite Die! And though God may forgive you, Faust I have heard him and seen him once more! Here’s the path where the scented rose you must live with my curse! Leave us alone! Yes, you’re here beloved. filled the air with sweet exhalations. Though God may forgive you, Mephistopheles The torments I suffered Night after night you held me close you must live with a brother’s curse! Hurry up! I’ll keep watch at the gate. will not seem so hard! beneath the silent constellations.

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Faust Marguerite Marguerite Mephistopheles Come, come Marguerite. My God protect me now! Angel choirs, bright visions of love etc. Damnation! My God, you are my saviour! Marguerite Faust Apotheosis No! Faust Come! Come, trust in my love, Chorus of Angels Faust Come! Come now glimmers of dawn light the sky above! Salvation! Come, come with me! or else you will be lost forever! Come! I swear you will not leave me! God’s kingdom shall endure! Marguerite! Marguerite Marguerite Christ Jesus is risen! No! No, stay beside me! Angel choirs, bright visions of love, Faust Peace reigns for evermore carry my soul to God above! Marguerite! with our Father in heaven! Faust Dear Father in your mercy receive me! Christ Jesus is risen! Oh God! Why does she not respond? Dear Lord, you are my all, forgive me! Marguerite God’s kingdom shall endure! What threat blazes there in your eyes? Scene 6 Faust Why are your hands dripping with blood? (The prison walls open. The soul of Marguerite is transported to Heaven. Faust gazes after her in Trio We must go, come with me! Go! You’re a loathsome sight! despair and falls to his knees in prayer. Mephistopheles Marguerite Faust Mephistopheles turns away before the glory of the 21 Make haste now! Or abandon all hope! Angel choirs, bright visions of love, Ah! archangel’s sword.) Soon the morning will come, bringing the carry my soul to God above! hangman’s rope! © Christopher Cowell Mephistopheles Reprinted by permission Marguerite Don’t delay! Satan’s here… Satan’s here! Marguerite He is there in the shadow. Dear Father, in your mercy receive me! His eyes like coals devour his face! You are my all, dear Lord, forgive me! What can he want? Cast him out from this place! Faust Come with me! I claim you for my own! Mephistopheles The shadows are melting, our horses await, Mephistopheles stamping on the cobbles, You must leave her! they call us to fly, before it’s too late! Glimmers of dawn brighten the sky above! Quick, bring the girl! Don’t delay, we have lingered enough. You may still be in time to save her! Follow us! Come, we’ll save you, believe me!

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Allen MDS-45 organ supplied by Abinger Organ Hire

Artistic consultant to the Peter Moores Foundation Patric Schmid Assistant staging manager and language consultant Charles Kilpatrick

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Richard Smoker Editor Jonathan Cooper Operas administrator Sue Shortridge CHAN 3074(2) Recording venue Blackheath Halls, London; 27–31 July 1998 Front cover Computer illustration by Cass Cassidy, from a photo of Alastair Miles as Mephistopheles (see p. 67) in Welsh National Opera’s production of Gounod’s Faust. Photo by Bill Cooper Back cover Photograph of David Parry Design Cass Cassidy & Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright Words by Christopher Cowell This compilation p 2002 from a p 1999 recording Chandos Records Ltd c 2002 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

CHAN 3081(2) 119 SOLOISTS/PHILHARMONIA ORCHESTRA/PARRY CHAN 3089(2) bass tenor soprano baritone bass-baritone CHAN 3089(2) mezzo-soprano mezzo-soprano 1999 recording Chandos1999 recording Records Ltd. p 2-disc set 2002 Chandos Records Ltd Printed in the EU TT 79:35 c 2002 from a 2002 from p COMPACT DISC TWO COMPACT DDD This compilation DIGITAL TT 79:33 (1818–1893) CHANDOS COMPACT DISC ONE COMPACT ...... Miles Alastair ...... Mary Plazas , Marguerite’s brother, a soldier...... brother, , Marguerite’s Garry Magee

(abridged) , a student ...... Hargreaves Matthew , Marguerite’s neighbour, Marguerite’s ...... Walker Sarah

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

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