| whAt to e xpect from faust An elderly scholAr, disillusioned with life, longs for his lost The Work youth. The devil offers him the chance to experience it again, as well as the FAUST love of a beautiful young woman—but the cost will be his immortal soul. opera in five acts, sung in french The myth of Faust, told in multiple versions over several centuries, has music by charles gounod (1818–1893) become one of the best-known and most frequently interpreted stories in libretto by Jules Barbier and michel Western culture. carré, based on carré’s play faust et Marguerite and Johann wolfgang von Inspired by Goethe’s famous drama, composer Charles Gounod and his goethe’s faust, part 1 librettists, Jules Barbier and Michel Carré, created a musical setting of the legendary tale that premiered in 1859 in Paris. Steeped in the tradition of first performed on march 19, 1859 at the théâtre lyrique, paris, france 19th-century Romantic French opera, their Faust smoothes over some of Goethe’s psychological complexities, but stands as an enormously effective ProDUCTIoN drama, brimming with melody. yannick nézet-séguin, conductor In the Met’s new production, presented as part of the company’s Live in HD series, director Des McAnuff updates the action to the first half of the des mcAnuff, production 20th century. Here, Faust is a nuclear physicist at the end of World War II robert Brill, set designer who revisits the decisions of his own ill-fated youth. Tenor Jonas Kaufmann paul tazewell, costume designer takes on the opera’s tour-de-force title role, and soprano Marina Poplavskaya, peter mumford, lighting designer seen in last season’s Live in HD transmission of Verdi’s Don Carlo, returns Kelly devine, choreographer as the innocent Marguerite. Bass René Pape sings Méphistophélès—in Gounod’s version, a suave, elegant embodiment of evil rather than a fright- STARRING ening character. (in order of appearance) Young people will find this Faust relevant and thought-provoking, intro- ducing questions of responsibility, pleasure, faith, and unintended conse- Jonas Kaufmann Faust (tenor) quences . The main Classroom Activity in this guide provides an opportu- nity to explore the actions and motivations of the central characters, Faust rené pape méphistophélès (bass) and Marguerite, with respect to students’ own ethical decision-making. Other activities involve close-up study of Gounod’s music and its role in russell Braun VAlentin (baritone) communicating character, as well as specific aspects of director McAnuff’s interpretation. By introducing students to the people and problems that Jonathan Beyer Wagner (baritone) drive this opera, the guide can prepare students not only to draw lessons from, but above all to enjoy the classic drama that is Faust. marina poplavskaya Marguerite (soprano) michèle losier siéBel (mezzo-soprano) production a gift of mercedes and sid Bass, and the Betsy and edward Cohen/areté foundation fund for new productions and Revivals additional funding from the Gramma fisher foundation, marshalltown, Iowa; the Richard J. massey foundation for the arts and sciences; and the metropolitan opera Club Co-production of the metropolitan opera and poplavskaya kaufmann pape english national opera 1 | A g uide to faust the guide includes four types of The activities in this guide address several aspects of Faust: activities. reproducible student • The interaction of plot and character development in the opera resources for the activities are available at the back of this guide. • Issues of ethics and personal responsibility in the protagonists’ behavior CLASSROOM ACTIVITY: a full-length activity, designed to • The use of the chorus to represent society support your ongoing curriculum • The historical context of Faust and of this Live in HD production MUSICAl HIGHLIGHTS: • The production as a unified work of art, involving creative decisions by opportunities to focus on excerpts the artists of the Metropolitan Opera from faust to enhance familiarity with the work The guide is intended to cultivate students’ interest in Faust whether or PERFORMANCE ACTIVITIES: not they have any prior acquaintance with opera. It includes activities for to be used during the Met: students with a wide range of musical backgrounds, seeking to encourage Live in HD transmission, calling attention to specific aspects of this them to think about opera—and the performing arts in general—as a production medium of entertainment and as creative expression. POST-SHOW DISCUSSION: a wrap-up activity, integrating the Live in HD experience into students’ views of the performing arts and humanities Jonas Kaufmann as Faust photo: nick heavican / meet opeRa 2 | the story Prelude The orchestral prelude to Faust is in two segments. The first part depicts the aged Faust (whom we will meet shortly as the curtain rises), who has spent his entire lonely life in science, prayer, and faith, brooding over his lot. The key is F minor and the texture of the music is contrapuntal, reflecting this gloomy, depressing mood. The second part of the prelude, completely changes the mood and gives us an instrumental preview of Valentin’s great aria, “Avant de quitter ce lieux” in Act I, Scene 2 when he bids farewell to his sister before going off to war. (See Musical Highlight The World Right Side Up on page 18). The prelude closes with a few quiet, almost religious chords. Act I Faust’s laboratory. Faust, an old man, has spent decades in the study of science. Looking back over his life, he feels himself to be a failure and is on the verge of suicide. When he hears young voices outside, he recalls his own youthful dreams. In a fit of fury, he calls out to the devil himself—and the devil appears! Méphistophélès offers Faust youth and pleasure in exchange for his soul, but only when he also promises the love of the beautiful young Marguerite does Faust accept the deal. He returns to his youth. Act II At the inn. As a crowd gathers, Valentin, a young officer, prepares to set off to war, asking a comrade, Siébel, to watch over his sister Marguerite. The townspeo- ple’s merriment is heightened when Méphistophélès appears, energizing the crowd with a song celebrating the Biblical Golden Calf—a traditional symbol of greed and idolatry. He then pours free wine for everybody and begins to tell fortunes: Wagner will be killed in his first battle, the flowers Siébel picks for Marguerite will wither, and Valentin will meet his death at the hands of someone close to Méphistophélès. Outraged to hear the stranger offer a toast to his sister, Valentin challenges Méphistophélès to a duel, but the devil magically snaps the soldier’s sword in two. Faust manages to catch Marguerite’s eye, but she turns him away. Act III Outside Marguerite’s house. Siébel, who is in love with Marguerite, tries to collect a bouquet for her, but every flower he touches withers—until he dips the hand cursed by Méphistophélès in holy water. He shyly leaves the bouquet for Marguerite to find. Faust and Méphistophélès have been watching, and Méphistophélès leaves behind a box of jewels to outshine Siébel’s meager gift. Marguerite appears, admitting to herself that beneath her cool exterior, she has been moved by her meeting with Faust. She finds the jewels and tries them on, imagining how Faust would admire her if he could see. Faust does see, of course, and, emerging from his hiding place, tries to seduce Marguerite. Méphistophélès, meanwhile, flirts with her neighbor, Marthe. Faust is beginning to fall in love and respectfully says good night, promising to return to Marguerite the next day. Méphistophélès will have none of this delay. He draws Faust’s attention to Marguerite’s own thoughts of love, then laughs with derision as Faust and Marguerite are drawn irresistibly together. 3 Act IV Inside Marguerite’s house. Months later, Marguerite is pregnant and hopeless. VOICE TYPE Faust, the father of the child, has disappeared. Since the early 19th century, The inn. Valentin and his comrades return from the war. Concerned about how singing voices have usually been classified in six basic Valentin will react to the news of Marguerite’s pregnancy, Siébel tries to stop him types, three male and three from entering her house, but Valentin persists. female, according to their Outside Marguerite’s house. Méphistophélès wants to hurry off to Walpurgis Night range: but the regretful Faust lingers, yearning for a glimpse of Marguerite. Valentin SOPRAno appears, having now learned of Faust and his sister’s liaison, and challenges Faust to the highest-pitched type a duel. With the help of Méphistophélès, Faust strikes a fatal blow. The townspeople of human voice, normally possessed only by women and call upon Valentin to forgive Marguerite but he curses his sister and dies. boys The church. Marguerite seeks shelter in a church. Méphistophélès and his minions MEZZo-SOPRANO appear, trying to impede her prayers. As Marguerite and a chorus of priests call on the female voice whose range God for salvation, the devil mocks her as a libertine and damns her to hell. lies between the soprano and the contralto (Italian Act V Walpurgis Night. The Walpurgis Night revels unfold, with Méphistophélès and “mezzo” = middle, medium) Faust surrounded by demons. Faust is shown a vision of Marguerite: she has been CONTRALTO imprisoned for infanticide and gone insane. Faust insists Méphistophélès bring him the lowest female voice, also to her. called an alto The prison With Méphistophélès’s assistance—whether in sympathy or with more TENOR treachery in mind—Faust attempts to save Marguerite. She lovingly recalls the night the highest naturally they met but panics at the sight of Méphistophélès, realizing that Faust is in alliance occurring voice type in adult with the devil.