GOUNOD Faust

Home , Cesare Siepi, Dorothy Kirsten, Fausto Cleva, Frank Guarrera, Joseph Hislop, Richard Bonelli

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discard the gold chain she wears and to suffer his curse 9 Alone with Marguerite, Faust is haunted by fear and ADD on earth, if God may pardon her hereafter. His dying remorse. He calls to her, as she lies sleeping, and she Great Opera Performances words shock the bystanders and he is carried into the wakes at the sound of her lover’s voice. 8.111083-85 house, while Siebel supports Marguerite, who is 0 Marguerite responds to her lover, declaring that she distraught. now has no fear of death and recalling her past happiness, the street where they first met, their first contact. He urges her to make her escape, but, delirious, 3 CDs CD 3 she refuses. GOUNOD ! Méphistophélès returns, urging haste, but Act IV recognised for what he is by Marguerite, who prays to the angels to take her soul to heaven. Faust seeks her Faust Scene 1 escape, prompted by Méphistophélès, as a noise is 1 The Walpurgisnacht ballet scene follows. It is set in heard outside, and Marguerite continues her prayers for Jussi Björling • Dorothy Kirsten • Cesare Siepi the Harz Mountains, where Méphistophélès introduces salvation. Faust to his own empire. @ Finally Marguerite pushes Faust away from her, Chorus and Orchestra of the Metropolitan Opera, New York • Fausto Cleva 2 There is a dance of Nubian slaves. horrified at what she sees as a threatening look and 3 The mountain opens to reveal a vast gilded palace, hands covered with blood and sinking senseless to the Recorded in 1950 with, in the middle, a fine table, surrounded by the ground. Méphistophélès declares that she is now queens and courtesans of antiquity. Méphistophélès judged, but voices of angels are heard, proclaiming offers Faust a place here, until dawn breaks. Marguerite’s salvation. The bells of Easter ring out, the 4 A dance of these figures from antiquity follows. walls of the prison fall open and the soul of Marguerite 5 There is a Mirror Variation. ascends to heaven. Faust falls on his knees in prayer, 6 This leads to the dance of the Trojan women. while Méphistophélès is held at bay under the sword of 7 The ballet ends with the dance of the famous Greek the archangel. Voices hymn the resurrection of Christ, courtesan Phryne. as the curtain falls.

Scene 2 Keith Anderson 8 Faust would be rid of Méphistophélès, who offers him the means to rescue Marguerite, who lies in prison, condemned to death for the murder of her baby.

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Faust and Marguerite stroll away in the garden, leaving scene in which Marguerite is seen praying, while the the other two alone together, with Méphistophélès in voice of Méphistophélès is heard trying to prevent her mock flirtation with Marthe. and summoning devils to his aid. He tells her that it is 2 Méphistophélès and Marthe move away, as Faust Hell that calls her. A celestial choir is heard, but he tells Great Opera Performance and Marguerite return. He asks her if she is always her that God will never pardon her. She turns, however, alone and she tells him that her brother is a soldier and to prayer, in spite of his recalling of her days of love. Charles that her mother is dead, as is her younger sister. The voice of Méphistophélès is heard calling down a Méphistophélès and Marthe return, he telling her that it curse on her. She falls down, fainting, and the scene GOUNOD is time for him to set out on his travels again, while she closes with the triumphant sound of the organ. (1818-1892) protests. Faust, meanwhile, urges his love for Marguerite, and she, as it grows dark, tells him he Scene 2 should go. Méphistophélès has had enough of his 8 The scene is a street, on one side Marguerite’s Faust flirtation with this old woman who wanted to marry the house and on the other a church. The soldiers are An Opera in 4 Acts Devil. Siebel enters the garden, but Marthe sends him returning, singing in celebration, as they march in. away, and they leave together. 9 Valentin learns from Siebel that all is not well with 3 Méphistophélès watches the two lovers, Faust and Marguerite, but Siebel cannot prevent him entering the Faust ...... Jussi Björling Marguerite, and casts his spell of love over them, before house, while he himself turns to the church. Méphistophélès ...... Cesare Siepi withdrawing into the shadows. Méphistophélès appears with Faust, urging him to go 4 Marguerite seeks to enter her house, but Faust begs into the house, while Faust hesitates to bring further Valentin ...... Frank Guarrera her to stay and pleads his love for her. She picks a daisy, trouble there. Wagner ...... Lawrence Davidson plucking the petals to see whether Faust really loves 0 Méphistophélès sings a mock serenade, Siebel ...... Anne Bollinger her. They embrace and promise to love each other for accompanying himself on a guitar and punctuating the ever. performance with fiendish laughter. Faust tries to Marguerite ...... Dorothy Kirsten 5 They sing of their love and Marguerite declares that silence him, but Méphistophélès continues his serenade Martha ...... Thelma Votipka she would die for him. She begs him to go and finally of feigned love. runs into the house, blowing him a kiss, as she goes in. ! Valentin bursts out of the house, angrily seeking to Orchestra and Chorus of the Metropolitan Opera • Fausto Cleva Faust makes towards the door, but Méphistophélès know what the two want. He takes his sword and emerges to bar his way. smashes the guitar and demands satisfaction of one of Metropolitan Opera broadcast 6 Méphistophélès tells him to listen to what them. They draw their swords and Valentin and Faust 23rd December 1950 Marguerite has to say to the stars. She opens her fight. Valentin casts aside the holy medal given him by window, and leans there for a moment, before singing his sister, to the delight of Méphistophélès, who turns of her love and Faust’s love for her. He leaps forward to the blade of Faust, unwilling to harm his beloved the window and seizes her hand and she lets her head Marguerite’s brother, so that Valentin falls, mortally fall on his shoulder, as Méphistophélès leaves the wounded. Méphistophélès draws Faust away from the garden with a burst of diabolical laughter. scene. @ Marthe rushes in, with a group of neighbours, Act III anxious to help Valentin. They are joined by Marguerite, who falls on her knees beside her brother, Scene 1 and by Siebel. Valentin, however, repulses her, telling 7 Marguerite’s spinning-song and the following her that he has foolishly sought a quarrel with her lover, scene with Siebel are omitted. There follows the church a declaration that shocks the onlookers. He tells her to 8.111083-85 2 11 8.111083-85 111083-85 bk FaustEU 13/04/2005 12:04pm Page 10

foretelling his death at the hands of one he knows. He messengers of his love, but as he plucks a flower, it CD 1 74:34 @ Ainsi que la brise légère 2:47 takes a beaker from Wagner and drinks their health. The fades, the work of the sorcerer he had encountered. He ( Chorus, Méphistophélès, Faust, Siebel) wine, though, is bad, he says, and offers them some picks a second flower, with the same result, and dips his 1 Introduction 5:33 from his own cellar. Climbing onto a bench he taps on a hand into a stoup of holy water, on the wall of the (Orchestra) # Ne permettrez-vous pas 3:34 small barrel with the sign of Bacchus on it, calling on house. Now the flowers do not wilt and he withdraws (Faust, Marguerite, Siebel, Méphistophélès, Lord Bacchus and then on the company to drink to into the shrubbery. Act 1 44:11 Chorus) Marguerite. Valentin, angry, seizes the beaker from ^ Faust and Méphistophélès enter the garden, but Méphistophélès and throws the contents down, at which withdraw as Siebel returns with a bouquet, which he Scene 1 Act 2 24:50 the wine bursts into flames. He challenges leaves by the door of the house. Méphistophélès 2 Rien!… En vain j’interroge 5:31 Méphistophélès, and the students and their friends draw promises to provide Faust with something much more (Faust) $ Introduction 1:36 their swords. Méphistophélès draws a circle round valuable and leaves him for a moment. (Orchestra) himself with his sword and those seeking to attack him & Faust is overwhelmed by the sight of Marguerite’s 3 Ah! Paresseuse fille 2:41 find themselves thwarted, while Valentin’s sword house, a chaste and pure dwelling for one who is (Faust, Choeur) % Faites-lui mes aveux 3:17 breaks. Valentin accuses Méphistophélès of devilry and innocent. Méphistophélès returns carrying a jewel (Siebel) they all now hold their swords up by the blade, forming casket, but Faust now has scruples about his behaviour. 4 Mais ce Dieu, que peut-il pour moi? 6:09 crosses, to check the power of the Devil. Méphistophélès puts the casket down on the doorstep (Faust, Méphistophélès) ^ C’est ici! 2:05 Méphistophélès draws back and the company disperses. and they both leave. (Faust, Méphistophélès, Siebel) ! Méphistophélès sheathes his sword, promising that * Marguerite enters the garden, wondering who the 5 O merveille!… 4:13 they shall all meet again, and asks Faust, who now joins young man is, surely a great lord, and what his name is. (Faust, Méphistophélès) & Que trouble inconnu me pénètre!… 8:05 him, where he should begin. Faust asks to be taken to She sits down at her spinning-wheel and sings the old Salut! demeure chaste et pure the girl whose image he had been shown. ballad of the King of Thule, interrupting her song with Scene 2 (Faust, Méphistophélès, Siebel) @ Girls, women, students and townspeople now thoughts of Faust. 6 Vin ou bière, bière ou vin 4:24 return, dancing a waltz. Méphistophélès urges Faust to ( She stands up, still fascinated by the idea of the (Chorus) * Je voudrais bien savoir… 3:43 join the girls, but it is Marguerite on whom Faust has set behaviour of great lords. She sees the bouquet that Il était un roi de Thulé his heart. Siebel appears, waiting for Marguerite and Siebel has left for her and then catches sight of the 7 O sainte médaille… 1:32 (Marguerite) refusing to dance. Marguerite enters. Méphistophélès casket, which she opens, letting the flowers fall to the (Valentin, Wagner, Siebel, Chorus) urges Faust forward and when Siebel approaches her, he ground. ( Les grands seigneurs… 2:11 stands in his way. ) In the famous Jewel Song, she sings of her joy, as 8 Avant de quitter ces lieux 5:05 (Marguerite) # Faust addresses Marguerite and offers her his arm, she takes the jewels from the casket and puts them on. (Valentin, Wagner, Chorus, Méphistophélès) which she refuses, as she passes on, provoking his ) Ah! Je ris de me voir 3:53 further admiration at her modesty. Méphistophélès 9 Le veau d’or est toujours debout 1:51 (Marguerite) offers further help and they leave together, while the CD 2 (Méphistophélès, Chorus) people resume their dance. 1 Marguerite is joined by her neighbour Marthe, who 0 Merci de ta chanson! 4:56 Act II admires the jewels. Méphistophélès and Faust join them (Choeur, Valentin, Wagner, Méphistophélès, and Méphistophélès casually tells Marthe that her Siebel) $ The scene is Marguerite’s garden. In the husband is dead, while Faust and Marguerite are background is a wall with a little door. To the left there absorbed by each other. Marthe asks if Méphistophélès ! Nous nous retrouverons, mes amis! 1:27 is a thicket and to the right a little house, surrounded by brings anything from her husband but he tells her that to (Méphistophélès, Faust) roses and lilac. There are trees and bushes. punish him she should seek another husband, % Siebel enters the garden, asking the flowers to be suggesting that any man would be glad to marry her. 8.111083-85 10 3 8.111083-85 111083-85 bk FaustEU 13/04/2005 12:04pm Page 4

CD 2 56:53 @ Par ici, par ici, mes amis!… 7:37 Synopsis will be at his service and later Faust will serve him. He Écoute-moi bien, Marguerite! hands Faust a parchment for his signature, but the latter Act 2 (continued) 24:38 (Marthe, Chorus, Valentin, Marguerite, Siebel) CD 1 still hesitates. 5 To convince him Méphistophélès conjures up a 1 Seigneur Dieu, que vois-je? 5:23 Act I vision of Marguerite at her spinning-wheel. Faust (Marthe, Marguerite, Méphistophélès, Faust) CD 3 73:18 makes a sign and Méphistophélès hands him the goblet. Scene 1 Faust, enraptured, drinks to Marguerite. As he drains 2 Et quoi! toujours seule? 4:12 Act 4 31:23 1 The ominous orchestral introduction includes the the goblet, he is transformed into a young man; the (Faust, Marguerite, Méphistophélès, Marthe) melody later used for Valentin’s prayer in the second vision disappears, while Méphistophélès promises to Scene 1 act, in which he seeks divine protection for his sister lead him to the girl and to the pleasures he desires. 3 Il était temps! Sous le feuillage sombre 1:35 1 Arrête!...N’as-tu pas promis 2:07 Marguerite during his own absence. The aria, as here, is (Méphistophélès) (Faust, Méphistophélès) often omitted. Scene 2 2 The opening scene is set in the study of the old 6 The scene is set by one of the gates of the city of 4 Il se fait tard, Adieu! 3:59 2 Les Nubiennes 2:17 scholar Faust. It is night and the old man is seated at a Leipzig, where a fair is being celebrated. At one side is (Faust, Marguerite) (Orchestra) table laden with parchments. The lamp is nearly out and a tavern, with the sign of the God Bacchus. The voices he has an open book in front of him. Faust muses on his of students, Wagner among them, are heard from the 5 O nuit d’amour!… ciel radieux! 4:35 3 Jusqu’aux premiers feux du matin 4:11 situation, sad, alone and powerless in his search to tavern celebrating the joys of drinking. Soldiers sing of (Faust, Marguerite) (Méphistophélès, Chorus, Faust) fathom the secrets of nature. In despair he closes the the joys of girls or battles and townspeople of soberer book and stands up. Dawn is breaking and Faust goes to enjoyment. Girls flirt, watched enviously by older 6 Tête folle! 4:54 4 Danse antique 1:37 open the casement. Unwilling to face yet another day, women, in a general air of festivity. (Méphistophélès, Faust, Marguerite) (Orchestra) he takes from the table a vial of poison and pours its 7 The young soldier Valentin, Marguerite’s brother, contents into a goblet, ready to drink a last salute to the enters. He holds in his hand a holy medal, given him by Act 3 32:15 5 Variation du Miroir 1:39 day. his sister to protect him from danger in battle. He hangs (Orchestra) 3 As Faust is about to drink, the sound is heard from the medal round his neck and goes towards the tavern, Scene 1 outside of girls singing, welcoming the new day. Once where he is welcomed by Wagner, but is always 7 Seigneur, daignez permettre 10:36 6 Les Troyennes 2:46 again he is about to drink, but his hand trembles when worried about leaving his sister alone and unprotected. (Marguerite, Méphistophélès, Chorus) (Orchestra) the sound of farm-labourers is heard, as they go to work, 8 Valentin prays that God will guard his sister. greeting the day and blessing God. He sinks back in his Siebel, who is in love with Marguerite, promises to look Scene 2 7 Danse de Phryné 2:36 chair. after her. Wagner calls for further celebration and sings 8 Déposons les armes 5:01 (Orchestra) 4 Faust asks what God can do for him; will he give his song of the rat. He is interrupted by Méphistophélès, (Chorus, Valentin, Siebel) him back love, youth and faith? He calls down a curse who offers his own song. Scene 2 on human pleasures, on knowledge, prayer and faith 9 Méphistophélès sings the Rondo of the Golden 9 Allons, Siebel! entrons dans la maison! 1:56 8 Va-t-en 1:50 and summons Satan to his aid. His call is answered and Calf, in praise of gold, worshipped by mankind, where (Valentin, Siebel) (Faust, Méphistophélès) Méphistophélès appears in the guise of a gentleman, Satan leads the way. sword at his side, feather in his hat, a pocket full of gold 0 The company thanks Méphistophélès for his song 0 Vous qui faites l’endormie 3:01 9 Mon coeur est pénétré d’épouvante! 2:46 and a rich cloak round his shoulders. Faust tries to send and Wagner invites him to drink with them. (Méphistophélès, Faust) (Faust, Marguerite) him away, but Méphistophélès will have none of it and Méphistophélès takes his hand and reads in his palm the asks Faust what he wants, money, glory or power. Faust sign of death in battle, then, taking Siebel’s hand, tells ! Que voulez-vous, messieurs? 4:04 0 Oui, c’est toi! je t’aime! 3:49 wants something that will hold them all, youth, with all him that any flower he touches will fade, so there can be (Valentin, Méphistophélès, Faust) (Marguerite, Faust) the pleasures it brings, and Méphistophélès offers this, no bouquets for Marguerite. Valentin asks how he for a small return, almost nothing: here Méphistophélès knows his sister’s name and Méphistophélès warns him, 8.111083-85 4 9 8.111083-85 111083-85 bk FaustEU 13/04/2005 12:04pm Page 8

Matthew Passion in Boston under Serge Koussevitzky. appearances, Kirsten also took part in several films, the ! Alerte! Alerte! Ou vous êtes perdus! 2:26 Pre-recorded broadcast, Stockholm Making her Metropolitan Opera début as Barbarina in most notable being The Great Caruso with Mario Lanza (Méphistophélès, Marguerite, Faust) 3rd October 1952 Le nozze di Figaro in January 1949, she sang with the (1951). She appeared in Russia in 1962. Her recordings Company for six seasons until 1953. There her rôles show her to have been a well-schooled artist with an @ Marguerite!… Pourquoi ce regard 3:19 DONIZETTI: L’elisir d’amore: included Tebaldo in Don Carlo, Siebel in Faust, one of excellent technique. (Marguerite, Faust) * Una furtiva lagrima 3:56 the Zaubermädchen in Parsifal, Emma in The bass Lawrence Davidson was a member of Khovanshchina and Frasquita in Carmen. In 1953 she Metropolitan for eighteen seasons from the 1940s MASCAGNI: Cavalleria rusticana: joined the Hamburg State Opera for four years where onwards, mainly in comprimario rôles that included Appendix: ( Mamma!... Quel vino 4:00 her rôles included Pamina in Die Zauberflöte in 1955. Benoit in La bohème, Lamoral in Arabella and Antonio Songs and Arias sung by She then returned to the United States before her in Le nozze di Figaro. Very occasionally he appeared as Jussi Björling WAGNER: Lohengrin: premature death at the age of 39. Alberich in Das Rheingold and Götterdämmerung, the ) In fernem Land 5:12 The mezzo-soprano Thelma Votipka (1906-1972) Sacristan in Tosca, Varlaam in Boris, Beckmesser in Telephone Hour broadcast, New York was born in Cleveland, Ohio, and studied at Oberlin Meistersinger and Klingsor in Parsifal. He appeared as 4th April 1949 SIBELIUS: College. Making her début as the Countess in Le nozze the Keeper of the Madhouse in the first Metropolitan ¡ Var det en dröm? Op. 37, No. 4 2:31 di Figaro with the American Opera Company in 1927, Opera production of Stravinsky’s The Rake’s Progress SCHUBERT: she later appeared in Chicago (1929-30) and San in 1953. He was also cantor at the Temple Emanu-El in # Ständchen 4:17 SIBELIUS: Francisco (1938-49 and 1952). Her first rôle at the Utica, New York State. ™ Svarta rosor, Op. 36, No. 1 2:20 Metropolitan was as Flora in La traviata in December The Italian-born conductor Fausto Cleva (1902- HERBERT: Princess Pat: 1935. During her 29-year career at this house she sang 1971) was born in Trieste. After studies at the $ Neapolitan Love Song 3:40 SIBELIUS: in over one thousand performances, primarily in the Conservatorio in his native city and Milan, he made his Orchestra conducted by Donald Voorhees £ Säv, saäv, susa, Op. 36, No. 4 2:20 comprimario repertoire: for example, the Witch in début conducting La traviata in Carcano, near Milan, Swedish Radio Symphony Orchestra Hansel und Gretel, Frasquita in Carmen and Marianne before emigrating to the United States in 1920, Symphonies Under The Stars broadcast, conducted by Sten Frykberg in Der Rosenkavalier. She died in New York. becoming an American citizen in 1931. He joined the Hollywood Bowl One of the most admired spinto voices of her age, musical staff of the Metropolitan later that year and for 23rd August 1949 Tracks 13 and 20 sung in German the American soprano Dorothy Kirsten (1917-1992) twenty years was an assistant conductor and later Track 14 sung in English was born in Montclair, New Jersey. First studying at the chorus-master before making his official conducting PUCCINI: La bohème: Tracks 15, 16, 18 and 19 sung in Italian Juilliard School of Music in New York, she later début in February 1942. He later became closely % Che gelida manina 4:58 Track 17 sung in French worked with Astolfo Pescia in Rome. Returning to the involved with Cincinnati Summer Opera, of which he Tracks 21, 22 and 23 sung in Swedish United States she made her début as Pousette in Manon was musical director from 1934 until 1963, in addition PUCCINI: La bohème: in 1940. This was followed by appearances with San to positions in Chicago (1944-46) and San Francisco. ^ O soave fanciulla 3:42 Carlo Opera, Washington DC as Micaëla in Carmen Following his return to the Met in 1950 he conducted in with Anna-Lisa Björling, Soprano (1942), New York City Opera as Violetta in La traviata excess of six hundred performances of thirty operas, (1944), and San Francisco (1947). Her first rôle at the mainly from the French and Italian repertory. His work GOUNOD: Roméo et Juliette: Metropolitan was as Mimì in La bohéme in December was marked by great attentiveness to his singers. He & Ange adorable 5:00 1945 and during the next 27 seasons she sang 165 conducted Rigoletto with the Swedish Royal Opera at Hollywood Bowl Symphony Orchestra performances of 18 rôles. These included Butterfly, the Edinburgh Festival in 1959. He recorded for a conducted by Izler Solomon Tosca, Minnie in La fanciulla del West, both Manons, variety of labels, mainly as an accompanist for singers. Marguerite and Louise, in the last being coached by the He died in Athens while conducting Gluck’s Orfeo ed composer. Her official retirement was in December Euridice. 1975 but she later returned on a number of occasions thereafter. In addition to radio, television and concert Malcolm Walker 8.111083-85 8 5 8.111083-85 111083-85 bk FaustEU 13/04/2005 12:04pm Page 6

Charles Gounod (1818-1893) been decided upon by earlier managements who were of four years before singing at the Metropolitan in New the opinion that this scene, which the composer added York as Philip II in Don Carlos on the opening night of Faust ten years after the opera’s première, was an Rudolf Bing’s tenure in November 1950. He was a afterthought. valued member at the Met for 23 seasons singing 379 Charles Gounod achieved great acclaim and popularity requires sweetness, purity and evenness of tone, The Swedish tenor Jussi Björling (1911-1960) was performances of 18 rôles. These included Figaro in Le in addition to musical influence in France during the delicacy and elegance, declamatory power, and a good born in Stora Tuna in the district of Dalarma, and as a nozze di Figaro, Don Giovanni, Basilio in Il barbiere di nineteenth century. In no way was he a radical compared well-placed top C for the big aria ‘Salut, demeure’. For boy toured and recorded with the family quartet, in Siviglia, Boris Godunov, Gurnemanz in Parsifal and to his compatriot Berlioz but, recognising his the rôle of Marguerite the contrast of a finely-tuned addition to visiting the United States. His adult teachers Orovesco in Norma. He appeared at the Salzburg limitations, stuck to what he knew best. He wrote in total coloratura technique for the florid ‘Jewel Song’ must be were his father David, John Forsell and the Scottish Festival (1953-58), San Francisco (1954), Covent fourteen operas of which Faust is the fourth. Derived allied to a lyrical quality for the Garden Scene. As for tenor Joseph Hislop. He was a member of the Royal Garden (1962-73), Spain and South America. Siepi’s from Michel Carré’s three-act play Faust et Marguerite, the sinister and satanic Méphistophélès, the performer Opera in Stockholm from 1930 onwards but two years diversity was such that he appeared in a Broadway the scenario was in turn itself derived from Gérard de must be overbearing, delicate, and display a later began his international career in Germany, musical in 1962 entitled Bravo Giovanni and recorded Nerval’s translation of the first part of Goethe’s Faust. considerable range of acting talents, in addition to followed by Vienna (1936), the Metropolitan Opera in an album of Cole Porter songs. His career was varied Gounod’s librettists Jules Barbier and Carré fashioned a possessing all traits and colours in his vocal palette. An New York (1938) and Covent Garden the following and long so that he was still appearing in Italy until the varied and profound dramatic work which, if by today’s excess of any of these qualities and the interpretation year. Whilst Björling was widely regarded as the 1980s. He possessed a smooth, rich and evenly world it comes over as conventional and sentimental, can appear wildly over the top. Then the comparatively foremost ‘Italian’ tenor of his day in the spinto rôles of produced voice allied to excellent musicianship and a proved immensely popular with nineteenth century minor baritone rôle of Valentin requires much of its Puccini and Verdi, he also excelled in French opera. His splendid stage presence. He recorded extensively for a audiences. For the composer’s part the score is well performer: a good top register, much style and presence. work was respected for its artistic qualities – his vocal number of labels. crafted and contains a wealth of melodic charm. There His aria in Act 1 Scene 2 (Avant de quitter ces lieux) quality was very consistent over its entire range, even if The American baritone Frank Guarrera was born are telling vocal rôles for Marguerite (even if she does was composed for the English baritone Charles Santley his acting ability was somewhat stilted. He recorded in Philadelphia in 1923. Studying with Richard Bonelli not appear until the end of Act 1), Faust, the when the opera was given in London in 1864. The first extensively from the mis-1930s until his early death in at the Curtis Institute in his native city, he made his marvellously sinister Méphistophélès and Valentin. production at the Metropolitan Opera House took place 1960. His increasingly poor health in later years was début as Silvio in Pagliacci at the New York City Opera Originally the score also contained spoken dialogue on 22nd October 1883. Thereafter it has remained in the caused by heart problems. His ten complete studio- in 1947. His European appearance was as Zurga in Les which made the work seem less grand opera than opéra- repertoire most of that time. made operatic recordings include Il trovatore (Naxos Pêcheurs de perles at La Scala, Milan the following comique at the first performance in the Théâtre Lyrique The 1950-51 season saw a change in the overall 8.110240-41), Pagliacci (8.110258) and Cavalleria year, also singing Fanvel in Acts 3 and 4 of Nerone in Paris on 19th March 1859. Even before the première, administration of the Metropolitan Opera House with Rusticana (8.110261). The rôle of Faust was one that under Toscanini. That same season he made his several entire numbers were cut and the famous the retirement of the Canadian tenor Edward Johnson Björling sang throughout his career after 1934. He Metropolitan Opera début as Escamillo in Carmen and Soldiers’ Chorus (Act 3 Scene 2) was added at a late (1878-1959) after fifteen years in charge. He was married the soprano Anna-Lisa Berg in 1935 and they over the next 28 seasons sang over four hundred stage. Reacting to criticism, Gounod then composed succeeded by the Austrian-born but British-naturalised appeared together both in concert and stage performances with the Company. In addition he sang sung recitatives that were added the following year for Rudolf Bing (1902-1997). He had come to the post by performances. with the New York City Opera. His repertoire included performances in Strasbourg, Rouen and Bordeaux. For way of Darmstadt (1928-30), Glyndebourne (1934, The vibrantly voiced Italian bass Cesare Siepi was all the principal Italian baritone rôles. He also sang in the 1859 production at the Paris Opéra the composer General Manager 1936-49) and the position of artistic born in Milan in 1923. After study at that city’s Chicago, San Francisco, London and Paris. His most added the obligatory ballet music. Thereafter in its 1869 manager of the Edinburgh Festival (1947-49). His 22 Conservatorio, he made his début as Sparafucile in celebrated recording is as Ford in Verdi’s Falstaff, format the opera became a huge success in major houses years in charge at the Metropolitan saw many changes, Rigoletto in Schio in 1941. In 1943, however, he fled to recorded in 1950 under Toscanini, in addition to taking throughout the world for the next fifty years. In Paris, for considerable development of both native and foreign Switzerland, because of his strong anti-Fascist views. part in a series of Metropolitan Opera recordings for the example, it had five new productions between 1875 and singers, as well as the introduction of black artists Five years later he first appeared at La Scala, Milan, as Book-of-the-Month Club. After retiring from singing he 1975. through Marian Anderson in 1955, and a move to the Ramfis in Aida, Padre Guardiano in La forza del destino later taught at the Curtis Institute. The title rôle demands much of its interpreter both new theatre in the Lincoln Center in 1962. and Zaccaria in Nabucco. Siepe was chosen by The American soprano Anne Bollinger (1919- vocally and dramatically. The character at the opening A feature of this 1950 Faust performance was the Toscanini to take part in the Boito celebration at La 1962) was born in Lewiston, Ohio, studying first with of the opera is an old man who is then transformed to inclusion of the Walpurgis Night ballet for the first time Scala as Mefistofele and Simon Mago in Nerone. He Rosie Miller and later Lotte Lehmann. She came to become youthful and poetic once more. The vocal part since the 1917-18 season. The years of omission had continued with the Company as a regular member for prominence in March 1948 singing in Bach’s St 8.111083-85 6 7 8.111083-85 111083-85 bk FaustEU 13/04/2005 12:04pm Page 6

Scene 2 Keith Anderson 8 Faust would be rid of Méphistophélès, who offers him the means to rescue Marguerite, who lies in prison, condemned to death for the murder of her baby.

8.111083-85 12 111083-85 fb FaustEU 13/04/2005 12:06pm Page 2

CMYK N 8.111083-85 Charles ADD AXOS Historical 3 CDs GOUNOD Playing h DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL (1818-1893)

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8.111083-85 Faust

This 1950 Metropolitan Opera Faust ...... Jussi Björling broadcast of Gounod’s Faust is still remembered today for Jussi Méphistophélès ...... Cesare Siepi Björling’s thrilling interpretation

of the demanding title rôle. Björling • Kirsten Siepi Cleva Valentin ...... Frank Guarrera Although Björling was widely Wagner ...... Lawrence Davidson regarded as the foremost ‘Italian’ tenor of his day in the spinto rôles Siebel ...... Anne Bollinger of Puccini and Verdi, he also excelled in French opera. On this Marguerite ...... Dorothy Kirsten recording Méphistophélès is sung Martha ...... Thelma Votipka by the vibrantly voiced Italian bass Cesare Siepi while the American Chorus and Orchestra of the Metropolitan Opera, New York soprano Dorothy Kirsten, one of the most admired spinto voices of Conducted by Fausto Cleva her age, marries a finely-tuned Metropolitan Opera broadcast coloratura technique for the florid Jewel Song with sweetness, purity 23rd December 1950 and evenness of tone for the Garden Scene. CD 1 74:34 CD 2 56:53 CD 3 73:18

Björling • Kirsten Siepi Cleva 1 Introduction 5:33 1-6 Act II (continued) 24:38 1-@ Act IV 31:23 2-# Act I 44:11 7-@ Act III 32:15 #-£ Appendix: 41:55 $-) Act II 24:50 Songs and Arias sung by MADE IN Jussi Björling THE EU

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Adetailed track list can be found in the booklet

AXOS Historical Cover Image: Faust finds Marguerite N (Mary Evans Picture Library)