Containing stirring choruses, poignant melodies, and incredible arias; filled with memorable characters, passion and drama, heartbreak and damnation, Faust is one of the world’s most popular operas.
Creating "Faust," Charles Gounod worked with one of the most prolific dramatic authors in France, Jules Barbier. They also briefly included Michel Carre in the alliance to give musical life to Goethe’s play. (Carre had recently penned a small piece called “Faust et Marguerite.”)
At the completion of their work, they could find no backers. The general consensus: the plot was out of date, far too vast, not nearly theatrical enough. But the men were on fire with enthusiasm for their work and continued their quest for support.
After considerable time, the partnership found hope with Theatre Lyrique, whose manager enjoyed the score. However, another “Faust,” this one by Dennery, was staged causing Gounod’s work to be delayed yet again.
Finally on March 19, 1859 it was debuted. “Decidedly the devil does not bring luck to M. Gounod” was the critic’s declaration after opening night. This production lasted 57 lightly-attended performances, pushed on only by the determination of M. Carvalho, the Lyrique's manager. The lack of popular acceptance of “Faust” caused the theatre to fail and close.
Gounod encountered great obstacles in finding a publisher; most would not consider publishing “a failure.” M. Chouden, newly in business, took great risk and published the “Faust” of Gounod/ Barbier/Carre, for a mere pittance. It seems no one had the foresight to realize the future of this most famous opera!
It was not until 1864 in London that “Faust” earned the voices it needed for the world to take notice: Mario as Faust and Madame Patti as Marguerite. And the rest, as they say, is history.
Briefly:
Dr. Faust is an aging, frustrated, despairing man who feels his life has been in vain. He contemplates suicide, but the devil appears in the form of Méphistophélès and bargaining for Faust's soul begins. Of all the Devil's tricks and offerings, Faust is interested only in the joys of youth and a beautiful woman. A pact is struck: for his soul, Méphistophélès grants Faust youthful vitality and a lovely young woman, Marguerite. As the duo goes in search of the promised young lady, they sing “A moi les plaisirs.”
As Marguerite’s brother, Valentin, prepares to leave for the wars, Faust meets her at a fair and offers to escort her home; she politely refuses.
The devil and the young Faust approach her home as Faust sings a glorious aria: Salut! Demeure Chaste et Pure (“Hail thou dwelling chaste and pure”). He places a gift of jewels in her garden. When she finds them, she sings the lovely Jewel Song.
Faust appears and attempts to seduce Marguerite and fails. Méphistophélès taunts him for his failure; he returns to finish his seduction. She embraces him, finally declares her love and yields. Marguerite flees to a church for solace, for she was once a pure young novitiate. Méphistophélès pursues and curses her; she collapses.
When her brother returns from the wars, it is to find Marguerite with a baby, having “forsaken her vows” thus staining his honor. Ashamed for abandoning Marguerite, Faust chooses this moment to enter her home. The incensed Valentin challenges Faust to a duel; through the intervention of Méphistophélès, Valentin is mortally wounded. He dies and Marguerite is thrown into deep despair. Grief-stricken, she abandons her newborn child and the infant dies. She is arrested for its murder and imprisoned.
Marguerite succumbs to madness during her imprisonment; as she is executed, heaven and its angels receive her soul. Meanwhile, Faust’s bargain with the devil comes due and he descends to hell.