Faust - Schedule, Program & Tickets
Faust
Musical Direction Bertrand de Billy
Production Frank Castorf
Stage Design Aleksandar Denić
Costume Design Adriana Braga Peretzki
Lighting Design Lothar Baumgarte
Director's Assistant Wolfgang Gruber
Videoregie Martin Andersson
Kamera/Bildgestaltung Tobias Dusche
Daniel Keller
Doktor Faust Juan Diego Flórez
Marguerite Nicole Car
Méphistopélès Adam Palka
Valentin Boris Prygl
Wagner Peter Kellner
Siébel Virginie Verrez
Marthe Monika Bohinec
The aria "Salut, demeure chaste et pure" ("Greetings, chaste and pure dwelling") has long been part of his concert repertoire, but Juan Diego Flórez will now see it unfold theatrically on the stage of the Vienna State Opera. This tenor’s aria is an exemplary work of Charles Gounod's handling of Johann Wolfgang von Goethe's tragedy: on the one hand the text follows the original almost entirely but on the other hand, the music adds so much languishing emotion that those who consider themselves guardians of German culture and what it deems sensual refinement found the rendition to be excessive. While Faust sings of the "innocent and divine soul" of the absent Marguerite, the solo violin nestles in the melody like a duet partner. And "the melody is delightful," as said by Gounod sceptic, Hector Berlioz, who said in critique of the premiere: "One may have applauded, but not enough, the aria deserved one hundred times the applause.” Admittedly, other French Faust adaptations of the 19th century would have given the “German Grail keepers” much more cause for annoyance: in numerous hilarious scenes, they send Faust and Mephisto not only to the Harz Mountains, but to Vesuvius and even to India. In contrast, Gounod's opera, which was first performed in Paris in 1859, adheres closely to Goethe's model, but dispenses with many figures and scenes and sets priorities of its own. The old Faust is less tormented by the question of "what holds the world together at its core" than by the longing for love and youth. Méphistophélès, less of an intellectual "principle of negation" and more a devilishly attractive magician, makes Faust aware of Marguerite – who is thrilled about her. A deal is quickly struck: the devil will serve Faust on Earth, and after Faust's death the reverse will come true. Marguerite, too, is not unimpressed by what Méphistophélès has to offer: material luxury and sensual pleasure, often musically illustrated by Gounod with a waltz. But the relationship between Faust and Marguerite remains only an episode, as Faust is drawn to new attractions, while Marguerite remains behind pregnant, only to witness her unfaithful lover also kill her brother...
Subject to change.
Production Frank Castorf
Stage Design Aleksandar Denić
Costume Design Adriana Braga Peretzki
Lighting Design Lothar Baumgarte
Director's Assistant Wolfgang Gruber
Videoregie Martin Andersson
Kamera/Bildgestaltung Tobias Dusche
Daniel Keller
Doktor Faust Juan Diego Flórez
Marguerite Nicole Car
Méphistopélès Adam Palka
Valentin Boris Prygl
Wagner Peter Kellner
Siébel Virginie Verrez
Marthe Monika Bohinec
The aria "Salut, demeure chaste et pure" ("Greetings, chaste and pure dwelling") has long been part of his concert repertoire, but Juan Diego Flórez will now see it unfold theatrically on the stage of the Vienna State Opera. This tenor’s aria is an exemplary work of Charles Gounod's handling of Johann Wolfgang von Goethe's tragedy: on the one hand the text follows the original almost entirely but on the other hand, the music adds so much languishing emotion that those who consider themselves guardians of German culture and what it deems sensual refinement found the rendition to be excessive. While Faust sings of the "innocent and divine soul" of the absent Marguerite, the solo violin nestles in the melody like a duet partner. And "the melody is delightful," as said by Gounod sceptic, Hector Berlioz, who said in critique of the premiere: "One may have applauded, but not enough, the aria deserved one hundred times the applause.” Admittedly, other French Faust adaptations of the 19th century would have given the “German Grail keepers” much more cause for annoyance: in numerous hilarious scenes, they send Faust and Mephisto not only to the Harz Mountains, but to Vesuvius and even to India. In contrast, Gounod's opera, which was first performed in Paris in 1859, adheres closely to Goethe's model, but dispenses with many figures and scenes and sets priorities of its own. The old Faust is less tormented by the question of "what holds the world together at its core" than by the longing for love and youth. Méphistophélès, less of an intellectual "principle of negation" and more a devilishly attractive magician, makes Faust aware of Marguerite – who is thrilled about her. A deal is quickly struck: the devil will serve Faust on Earth, and after Faust's death the reverse will come true. Marguerite, too, is not unimpressed by what Méphistophélès has to offer: material luxury and sensual pleasure, often musically illustrated by Gounod with a waltz. But the relationship between Faust and Marguerite remains only an episode, as Faust is drawn to new attractions, while Marguerite remains behind pregnant, only to witness her unfaithful lover also kill her brother...
Subject to change.
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