The Music of Faust: An Opera in Progress
Contents
The Music of Faust: An Opera in Progress is a new blog series about the music of the classic opera Faust. In this series, we’ll be exploring the different versions of the opera and the different ways that the music has been adapted over the years.
Introduction
The Music of Faust: An Opera in Progress is a new opera by composer Richard Einhorn and librettist/producer NigelBNOW Media Arts. It is based on the classic tale of Faust, a man who makes a deal with the devil, and explores the use of technology in opera.
The opera is being crowdfunded on Kickstarter, and has already raised over $35,000. The project has been endorsed by Sir Simon Rattle, Dame Shirley Bassey, and Plácido Domingo.
The Music of Faust will premiere in New York City in 2017.
History of Faust
Faust, an opera in progress by Charles Gounod, is based on the mythological character who made a pact with the devil. The original story was told in a poem by Johann Wolfgang von Goethe, published in 1808. Gounod began composing Faust in 1859 and the work was first performed in 1869. Although it was not well received at first, it has since become one of the most popular operas of all time.
The story of Faust has been adapted numerous times over the years, but Gounod’s opera is by far the most famous. In addition to Goethe’s original poem, Gounod also drew inspiration from a play by François-Antoine- Eugène de Planard entitled Faust et Marguerite. Planard’s play was itself based on an earlier work called Pandosto by Robert Greene.
Gounod’s Faust tells the story of an aging scholar who makes a pact with the devil, represented by the character Mephistopheles, in order to regain his youth and gain knowledge. In exchange for his soul, Faust is given 24 years of youth and Mephistopheles becomes his servant. The opera follows Faust as he seduces Marguerite, a young woman who knows nothing of his deal with Mephistopheles, and eventually abandons her when she becomes pregnant. Marguerite descends into madness and kills her own child before finally being redeemed by God.
The Music of Faust
An Opera in Progress
The Prologue
“The Prologue” is the first part of the opera. It sets the scene and introduces the characters. It is in two sections, the first section (often called “The Night”) takes place in a dark street in Paris, and the second section (often called “The Day”) takes place in a bright, sunny square.
The Prologue begins with a choral introduction, which leads into the first scene. This scene, set at night, introduces us to Faust and Mephistopheles. We learn that Faust is a magician who has made a deal with Mephistopheles – if Mephistopheles will help him to find true happiness, then Faust will give him his soul.
The second scene of the Prologue is set in a square in Paris during the day. Here we meet Marguerite, a young woman who is waiting for her lover Valentine. However, Valentine does not come, and instead Marguerite is left alone. She sings a beautiful aria called “The Jewel Song”, in which she tells us about her love for jewels (and for Valentine).
After this, we hear another choral introduction, leading into the third and final scene of the Prologue. In this scene, we learn that Valentine has been killed in a duel – and Marguerite is now alone and heartbroken.
The First Act
The first act of Faust begins with a prologue in which the character of Mephistopheles is introduced. Mephistopheles is a fallen angel who has been cast out of heaven and now lives in hell. He is tasked with tempting humans away from God and leading them astray.
The action of the first act takes place in a small town in Germany. Faust, a aging scholar, is depressed and disillusioned with life. He decides to make a pact with Mephistopheles, promising him his soul in exchange for limitless power and knowledge.
Mephistopheles agrees to the pact and helps Faust to seduce a young woman named Gretchen. Gretchen is initially resistant to Faust’s advances, but she eventually succumbs to his charms. The two spend a night together, during which Gretchen becomes pregnant.
The first act ends with Gretchen’s mother finding out about her daughter’s pregnancy and being horror-struck.
The Second Act
The Second Act of Faust begins with a scene in which Faust and Mephistopheles call on the emperor to grant them an audience. In the emperor’s court, Faust presents a gift of a magic cloak to the emperor, which he says will make the wearer invisible. The emperor is intrigued and decides to try it on, but when he does, he disappears.
The courtiers are panic-stricken and demand that Faust and Mephistopheles bring him back. They agree to do so, but only if the courtiers will give them anything they ask for in return. The courtiers agree, and Faust and Mephistopheles set off to find the emperor.
On their journey, they come across a group of peasants who are being terrorized by a band of brigands. Faust and Mephistopheles drive the brigands away and then use their magic to transform the peasants into an army of soldiers. The soldiers march off to fight the emperor’s enemies, while Faust and Mephistopheles continue on their way.
Eventually, they find the emperor, who is now living in a cave with a group of other hermits. The hermits are amazed by Faust and Mephistopheles’ magic and want to learn from them. However, when Faust tries to teach them about God, they are not interested and tell him that they prefer to worship nature instead.
This upsets Faust, who starts to doubt his own beliefs. However, Mephistopheles encourages him not to give up on God just yet. The two then leave the hermits and continue on their journey.
Conclusion
In conclusion, Gounod’s Faust is a work of great beauty and power, and an excellent example of the Romantic opera. It draws on a wealth of source material, from Goethe’s original play to the medieval legend of Faustus to popular folk traditions, and weaves them into a stirring and moving drama. The music is inventive and expressive, making full use of the resources of the orchestra and chorus to create a richly textured soundscape. The result is an opera that is both accessible and profound, an opera that has something to offer everyone.
