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Operas by Hector Berlioz
Berlioz-1.jpg

Les francs-juges (unfinished)
Benvenuto Cellini (1838)
La damnation de Faust (1846)
Béatrice et Bénédict (1862)
Les Troyens (1863)

La damnation de Faust (English: The Damnation of Faust) is a work for orchestra, voices, and chorus written by Hector Berlioz (he called it a "légende dramatique").

Berlioz's magnificent exploration of the Faust legend is a unique operatic journey. The visionary French composer was inspired by a bold translation of Goethe's dramatic poem Faust and produced a monumental and bewildering musical work that, like the masterpiece it's based on, defies easy categorization. Conceived at various times as a free-form oratorio and as an opera—Berlioz ultimately called it a "legende dramatique" -- La Damnation de Faust is both intimate and grandiose, exquisitely beautiful and blaringly rugged, hugely ambitious, and presciently cinematic. Its travelogue form and cosmic perspective have made it an extreme challenge to stage as an opera. Berlioz himself was eager to see the work staged, but once he did, he conceded that the production techniques of his time were not up to the task of bringing the work to dramatic life. Most of the work's fame has come through concert performances. In any form, La Damnation de Faust is an extraordinary work with the power to astound and impress even the most seasoned listener.

Berlioz read Goethe's Faust Part One in 1828, in Gérard de Nerval's translation; "this marvelous book fascinated me from the first", he recalled in his Memoirs. "I could not put it down. I read it incessantly, at meals, in the theatre, in the street." He was so impressed that a suite entitled "Eight Scenes from Faust" became his Opus 1 (1829), though he later recalled all the copies of it he could find. He returned to the material in 1845, to make a larger work, with some additional text by Almire Gandonnière to Berlioz's specifications, that he first called a "concert opera", and as it expanded, finally a "dramatic legend".

He worked on the score during his concert tour of 1845, adding his own text for "Nature immense, impénétrable et fière"— Faust's climactic invocation of all nature— and incorporating the Rákóczi March, which had been a thunderous success at a concert in Pest, Hungary, 15 February 1846.[1] Its first performance at the Opéra-Comique, Paris, 6 December 1846, did not meet with critical acclaim, perhaps due to its halfway status between opera and cantata; the public was apathetic, and two performances (and a cancelled third) rendered a financial setback for Berlioz: "Nothing in my career as an artist wounded me more deeply than this unexpected indifference", he remembered.[2]

La Damnation de Faust is performed regularly in concert halls, since its first successful complete performance in concert in Paris, in 1877; it is occasionally staged as an opera, for the first time in Opéra de Monte-Carlo on 18 February 1893, where it was produced by its director Raoul Gunsbourg, Jean de Reszke singing the role of Faust. The Metropolitan Opera premiered it first in concert (2 February 1896) and then on stage (The United States stage premiere on 7 December 1906). The Met revived it first in concert at Carnegie Hall on 10 November 1996, (repeated on tour in Tokyo the next year), then on the stage production on 7 November 2008, produced and directed by Robert Lepage, with innovative techniques of computer-generated stage imagery that responds to the performers' voices.[3]

Lyric Opera of Chicago premiered La damnation de Faust as The Damnation of Faust in a new production in February 2010. The production was made possible by Mr. and Mrs. William C. Vance, Edgar Foster Daniels, the Mazza Foundation, Mrs. A. Watson Armour, and the National Endowment for the Arts. Personnel included Paul Groves as Faust, John Relyea as Mephistopheles, Christian Van Horn as Brander, and Susan Graham as Marguerite. Sir Andrew Davis conducted. The minimalist two-level set (and costumes) was designed by George Souglides, lighting (utilizing LED instruments nearly as wide as the proscenium arch) by Wolfgang Gobbel and projections by John Boesche.

There are a number of recordings. Three sections of it, the Marche Hongroise (Hungarian March), Ballet des sylphes, and Menuet des follets are sometimes extracted and performed as "Three Orchestral Pieces from La Damnation de Faust."

Contents

Roles

Role Voice type Premiere Cast, 6 December 1846[4]
(Conductor: Berlioz)
Marguerite mezzo-soprano Hortense Dufflot-Maillard
Faust tenor Gustave-Hippolyte Roger
Méphistophélès baritone Léonard Hermann-Léon
Brander bass Henry ("Henri") Deshaynes
Chorus

Synopsis

Part I

The aging scholar Faust contemplates the renewal of nature. Hearing peasants sing and dance, he realizes that their simple happiness is something he will never experience. An army marches past in the distance (Hungarian March). Faust doesn't understand why the soldiers are so enthusiastic about glory and fame.

Part II

Depressed, Faust has returned to his study. Even the search for wisdom can no longer inspire him. Tired of life, he is about to commit suicide when the sound of church bells and an Easter hymn remind him of his youth, when he still had faith in religion. Suddenly Mephistopheles appears, ironically commenting on Faust's apparent conversion. He offers to take him on a journey, promising him the restoration of his youth, knowledge, and the fulfillment of all his wishes. Faust accepts.

Mephistopheles and Faust arrive at Auerbach's tavern in Leipzig, where Brander, a student, sings a song about a rat whose high life in a kitchen is ended by a dose of poison. The other guests offer an ironic "Amen," and Mephistopheles continues with another song about a flea that brings his relatives to infest a whole royal court (Song of the Flea). Disgusted by the vulgarity of it all, Faust demands to be taken somewhere else.

On a meadow by the Elbe, Mephistopheles shows Faust a dream vision of a beautiful woman named Marguerite, causing Faust to fall in love with her. He calls out her name, and Mephistopheles promises to lead Faust to her. Together with a group of students and soldiers, they enter the town where she lives.

Part III

Faust and Mephistopheles hide in Marguerite's room. Faust feels that he will find in her his ideal of a pure and innocent woman ("Autrefois un roi de Thule"). Marguerite enters and sings a ballad about the King of Thule, who always remained sadly faithful to his lost love ("Merci, doux crepuscule!"). Mephistopheles summons spirits to enchant and deceive the girl and sings a sarcastic serenade outside her window, predicting her loss of innocence. When the spirits have vanished, Faust steps forward. Marguerite admits that she has dreamed of him, just as he has dreamed of her, and they declare their love for each other. Just then, Mephistopheles bursts in, warning them that the girl's reputation must be saved: the neighbors have learned that there is a man in Marguerite's room and have called her mother to the scene. After a hasty goodbye, Faust and Mephistopheles escape.

Part IV

Faust has seduced, then abandoned Marguerite, who still awaits his return ("D'amour L'ardente flamme"). She can hear soldiers and students in the distance, which reminds her of the night Faust first came to her house. But this time he is not among them.

Faust calls upon nature to cure him of his world-weariness ("Nature immense, impenetrable et fiere"). Mephistopheles appears and tells him that Marguerite is in prison. She has accidentally given her mother too much of a sleeping potion, killing the old woman, and will be hanged the next day. Faust panics, but Mephistopheles claims he can save her—if Faust relinquishes his soul to him. Unable to think of anything but saving Marguerite, Faust agrees. The two ride off on a pair of black horses.

Thinking they are on their way to Marguerite, Faust becomes terrified when he sees demonic apparitions. The landscape becomes more and more horrible and grotesque, and Faust finally realizes that Mephistopheles has taken him directly into hell. Demons and damned spirits greet Mephistopheles in a mysterious infernal language and welcome Faust among them.

Epilogue

Hell has fallen silent after Faust's arrival — the torment he suffers is unspeakable. Marguerite is saved and welcomed into heaven.

Libretto

Parodies

External links

References


Operas by Hector Berlioz
File:Berlioz-1.jpg

Les francs-juges (unfinished)
Benvenuto Cellini (1838)
La damnation de Faust (1846)
Béatrice et Bénédict (1862)
Les Troyens (1863)

La damnation de Faust (English: The Damnation of Faust) is a work for orchestra, voices, and chorus written by Hector Berlioz (he called it a "légende dramatique").

Berlioz's magnificent exploration of the Faust legend is a unique operatic journey. The visionary French composer was inspired by a bold translation of Goethe's dramatic poem Faust and produced a monumental and bewildering musical work that, like the masterpiece it's based on, defies easy categorization. Conceived at various times as a free-form oratorio and as an opera—Berlioz ultimately called it a "legende dramatique"— La Damnation de Faust is both intimate and grandiose, exquisitely beautiful and blaringly rugged, hugely ambitious, and presciently cinematic. Its travelogue form and cosmic perspective have made it an extreme challenge to stage as an opera. Berlioz himself was eager to see the work staged, but once he did, he conceded that the production techniques of his time were not up to the task of bringing the work to dramatic life. Most of the work's fame has come through concert performances. In any form, La Damnation de Faust is an extraordinary work with the power to astound and impress even the most seasoned listener.

Berlioz read Goethe's Faust Part One in 1828, in Gérard de Nerval's translation; "this marvelous book fascinated me from the first", he recalled in his Memoirs. "I could not put it down. I read it incessantly, at meals, in the theatre, in the street." He was so impressed that a suite entitled "Eight Scenes from Faust" became his Opus 1 (1829), though he later recalled all the copies of it he could find. He returned to the material in 1845, to make a larger work, with some additional text by Almire Gandonnière to Berlioz's specifications, that he first called a "concert opera", and as it expanded, finally a "dramatic legend".

He worked on the score during his concert tour of 1845, adding his own text for "Nature immense, impénétrable et fière"— Faust's climactic invocation of all nature— and incorporating the Rákóczi March, which had been a thunderous success at a concert in Pest, Hungary, 15 February 1846.[1] Its first performance at the Opéra-Comique, Paris, 6 December 1846, did not meet with critical acclaim, perhaps due to its halfway status between opera and cantata; the public was apathetic, and two performances (and a cancelled third) rendered a financial setback for Berlioz: "Nothing in my career as an artist wounded me more deeply than this unexpected indifference", he remembered.[2]

La Damnation de Faust is performed regularly in concert halls, since its first successful complete performance in concert in Paris, in 1877; it is occasionally staged as an opera, for the first time in Opéra de Monte-Carlo on 18 February 1893, where it was produced by its director Raoul Gunsbourg, Jean de Reszke singing the role of Faust. The Metropolitan Opera premiered it first in concert (2 February 1896) and then on stage (The United States stage premiere on 7 December 1906). The Met revived it first in concert at Carnegie Hall on 10 November 1996, (repeated on tour in Tokyo the next year), then on the stage production on 7 November 2008, produced and directed by Robert Lepage, with innovative techniques of computer-generated stage imagery that responds to the performers' voices.[3]

Lyric Opera of Chicago premiered La damnation de Faust as The Damnation of Faust in a new production in February 2010.

There are a number of recordings. Three sections of it, the Marche Hongroise (Hungarian March), Ballet des sylphes, and Menuet des follets are sometimes extracted and performed as "Three Orchestral Pieces from La Damnation de Faust."

Contents

Roles

Role Voice type Premiere Cast, 6 December 1846[4]
(Conductor: Berlioz)
Marguerite mezzo-soprano Hortense Dufflot-Maillard
Faust tenor Gustave-Hippolyte Roger
Méphistophélès baritone Léonard Hermann-Léon
Brander bass Henry ("Henri") Deshaynes
Chorus

Synopsis

Part I

The aging scholar Faust contemplates the renewal of nature. Hearing peasants sing and dance, he realizes that their simple happiness is something he will never experience. An army marches past in the distance (Hungarian March). Faust doesn't understand why the soldiers are so enthusiastic about glory and fame.

Part II

Depressed, Faust has returned to his study. Even the search for wisdom can no longer inspire him. Tired of life, he is about to commit suicide when the sound of church bells and an Easter hymn remind him of his youth, when he still had faith in religion. Suddenly Mephistopheles appears, ironically commenting on Faust's apparent conversion. He offers to take him on a journey, promising him the restoration of his youth, knowledge, and the fulfillment of all his wishes. Faust accepts.

Mephistopheles and Faust arrive at Auerbach's tavern in Leipzig, where Brander, a student, sings a song about a rat whose high life in a kitchen is ended by a dose of poison. The other guests offer an ironic "Amen," and Mephistopheles continues with another song about a flea that brings his relatives to infest a whole royal court (Song of the Flea). Disgusted by the vulgarity of it all, Faust demands to be taken somewhere else.

On a meadow by the Elbe, Mephistopheles shows Faust a dream vision of a beautiful woman named Marguerite, causing Faust to fall in love with her. He calls out her name, and Mephistopheles promises to lead Faust to her. Together with a group of students and soldiers, they enter the town where she lives.

Part III

Faust and Mephistopheles hide in Marguerite's room. Faust feels that he will find in her his ideal of a pure and innocent woman ("Autrefois un roi de Thule"). Marguerite enters and sings a ballad about the King of Thule, who always remained sadly faithful to his lost love ("Merci, doux crepuscule!"). Mephistopheles summons spirits to enchant and deceive the girl and sings a sarcastic serenade outside her window, predicting her loss of innocence. When the spirits have vanished, Faust steps forward. Marguerite admits that she has dreamed of him, just as he has dreamed of her, and they declare their love for each other. Just then, Mephistopheles bursts in, warning them that the girl's reputation must be saved: the neighbors have learned that there is a man in Marguerite's room and have called her mother to the scene. After a hasty goodbye, Faust and Mephistopheles escape.

Part IV

Faust has seduced, then abandoned Marguerite, who still awaits his return ("D'amour L'ardente flamme"). She can hear soldiers and students in the distance, which reminds her of the night Faust first came to her house. But this time he is not among them.

Faust calls upon nature to cure him of his world-weariness ("Nature immense, impenetrable et fiere"). Mephistopheles appears and tells him that Marguerite is in prison. She has accidentally given her mother too much of a sleeping potion, killing the old woman, and will be hanged the next day. Faust panics, but Mephistopheles claims he can save her—if Faust relinquishes his soul to him. Unable to think of anything but saving Marguerite, Faust agrees. The two ride off on a pair of black horses.

Thinking they are on their way to Marguerite, Faust becomes terrified when he sees demonic apparitions. The landscape becomes more and more horrible and grotesque, and Faust finally realizes that Mephistopheles has taken him directly into hell. Demons and damned spirits greet Mephistopheles in a mysterious infernal language and welcome Faust among them.

Epilogue

Hell has fallen silent after Faust's arrival — the torment he suffers is unspeakable. Marguerite is saved and welcomed into heaven.

Parodies

  • The piece, "L'Éléphant" (The Elephant) from Camille Saint-Saëns's Carnival of the Animals (1886) uses a theme from the "Danse des sylphes," played on a double bass.

External links

References








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