Opera Books

The Standard Operas

By George P. Upton

1928

BOITO (ARRIGO)

     “MEPHISTOPHELES,” grand opera in a prologue, four acts, and epilogue, words by the composer, was first performed at La Scala, Milan, March 5, 1868. The "Prologue in the Heavens“contains five numbers, a prelude, and chorus of the mystic choir; instrumental scherzo, preluding the appearance of Mephistopheles; dramatic interlude, in which he engages to entrap Faust; a vocal scherzo by the chorus of cherubim; and the Final Psalmody by the penitents on earth and chorus of spirits. The prologue corresponds to Goethe’s prologue in the heavens, the heavenly choirs being heard in the background of clouds, accompanied by weird trumpet-peals and flourishes in the orchestra, and closes with a finale of great power.
     The first act opens in the city of Frankfort, amid the noise of the crowd and the clanging of holiday bells. Groups of students, burghers, huntsmen, and peasants sing snatches of chorus. A cavalcade escorting the Elector passes. Faust and Wagner enter, and retire as the peasants begin to sing and dance a merry waltz rhythm (“Juhé! Juhé!”). As it dies away they reappear, Faust being continually followed by a gray friar (Mephistopheles in disguise), whose identity is disclosed by a motive from the prologue. Faust shudders at his presence, but Wagner laughs away his fears, and the scene then suddenly changes to Faust’s laboratory, whither he has been followed by the gray friar, who conceals himself in an alcove. Faust sings an aria (“Dai Campi, dai Prati”), and then, placing the Bible on a lectern, begins to read. The sight of the book brings Mephistopheles out with a shriek. When questioned by Faust, he reveals his true self in a massive and sonorous aria (“Son ho Spirito”). He throws off his disguise, and appears in the garb of a knight, offering to serve Faust on earth if he will serve the powers of darkness in hell. The compact is made, as in the first act of Gounod’s “Faust,” and the curtain falls as Faust is about to be whisked away in Mephistopheles’s cloak.
     The second act opens in the garden, with Faust (under the name of Henry), Marguerite, Mephistopheles, and Martha, Marguerite’s mother, strolling in couples. The music, which is of a very sensuous character, is descriptive of the lovemaking between Faust and Marguerite, and the sarcastic passion of Mephistopheles for Martha. It is mostly in duet form, and closes with an allegretto quartet (“Addio, fuggo”), which is very characteristic. The scene then suddenly changes to the celebration of the Witches’ Sabbath on the summits of the Brocken, where, amid wild witch choruses, mighty dissonances, and weird incantation music, Faust is shown a vision of the sorrow of Marguerite. It would be impossible to select special numbers from this closely interwoven music, excepting perhaps the song (“Ecco il Mondo”) which Mephistopheles sings when the witches, after their incantation, present him with a globe of glass which he likens to the earth.
     The third act opens in a prison, where Marguerite is awaiting the penalty for murdering her babe. The action is very similar to that of the last act of Gounod’s “Faust.” Her opening aria (“La’ altra Notte a Fondo al Maro”) is full of sad longings for the child and insane moanings for mercy. Faust appeals to her to fly with him, and they join in a duet of extraordinary, sensuous beauty blended with pathos (“Lontano, lontano!”). Mephistopheles urges Faust away as the day dawns, and as Marguerite falls and dies, the angelic chorus resounding in the orchestra announces her salvation.
     In the fourth act a most abrupt change is made, both in a dramatic and musical sense. The scene changes to the “Night of the Classical Sabbath” on the banks of the Peneus, amid temples, statues, flowers, and all the loveliness of nature in Greece. The music also changes into the pure, sensuous Italian style. Faust, still with Mephistopheles, pays court to Helen of Troy, who is accompanied by Pantalis. The opening duet for the latter “La Luna immobile”) is one of exceeding grace and loveliness. With the exception of a powerfully dramatic scena, in which Helen describes the horrors of the destruction of Troy, the music is devoted to the love-making between Helen and Faust, and bears no relation in form to the rest of the music of the work, being essentially Italian in its smooth, flowing, melodious character.
     At the close of the classical Sabbath another abrupt change is. made, to the death-scene of Faust, contained in an epilogue. It opens in his laboratory, where he is reflecting upon the events of his unsatisfactory life, and contemplating a happier existence in heaven. Mephistopheles is still by his side as the tempter, offers him his cloak, and urges him to fly again. The heavenly trumpets which rang through the prologue are again heard, and the celestial choirs are singing. Enraged, Mephistopheles summons the sirens, who lure Faust with all their charms. Faust seizes the Sacred Volume, and declares that he relies upon its word for salvation. He prays for help against the demon. His prayer is answered; and as he dies a shower of roses falls upon his body. The tempter disappears, and the finale of the prologue, repeated, announces Faust has died in salvation.
     The opera as a whole is episodical in its dramatic construction, and the music is a mixture of two styles, — the Wagnerian and the conventional Italian; but its orchestration is bold and independent in character, and the voice-parts are very striking in their adaptation to the dramatic requirements.

Last updated October 30, 2006