| Gounod, Charles (1818-1893) | Faust |
| Teatro Real | |||
| Dan Ettinger | Dirección | ||
| Àlex Ollé | Dirección de escena | ||
| Alfons Flores | Diseño de escena | ||
| Lluc Castells | Diseño de vestuario | ||
| Orquesta Titular del Teatro Real | |||
| Coro Titular del Teatro Real | |||
| Marina Rebeka | Soprano | Marguerite | 2018 sep 19, 22, 24, 28, oct 01, 04, 07 |
| Irina Lungu | Soprano | Marguerite | 2018 sep 20, 23, 27, 30, oct 03, 06 |
| Piotr Beczała | Tenor | Faust | 2018 sep 19, 22, 24, 28, oct 01, 04, 07 |
| Ismael Jordi | Tenor | Faust | 2018 sep 20, 23, 27, 30, oct 03, 06 |
| Luca Pisaroni | Barítono | Méphistophélès | 2018 sep 19, 22, 24, 28, oct 01, 04, 07 |
| Erwin Schrott | Bajo-barítono | Méphistophélès | 2018 sep 20, 23, 27, 30, oct 03, 06 |
| Adam Palka | Bajo | Méphistophélès | 2018 sep 30, oct 03 |
| Sylvie Brunet-Grupposo | Mezzosoprano | Marthe | 2018 sep 19, 22, 24, 28, oct 01, 04, 07 |
| Diana Montague | Mezzosoprano | Marthe | 2018 sep 20, 23, 27, 30, oct 03, 06 |
| Serena Malfi | Mezzosoprano | Siebel | 2018 sep 19, 22, 24, 28, oct 01, 04, 07 |
| Annalisa Stroppa | Mezzosoprano | Siebel | 2018 sep 20, 23, 27, 30, oct 03, 06 |
| Stéphane Degout | Barítono | Valentin | 2018 sep 19, 22, 24, 28, oct 01, 04, 07 |
| John Chest | Barítono | Valentin | 2018 sep 20, 23, 27, 30, oct 03, 06 |
| Isaac Galán | Bajo | Wagner |
The legend of Faust, the man who sold his soul to the devil in exchange for power and knowledge, is taken from different popular sources. In the same manner as the legend of Orfeo or Don Juan, this too has survived throughout the years, and has been presented in endless artistic representations. In the field of music alone, it has served as inspiration for such varied composers as Richard Wagner, Franz Schubert, Gustav Mahler or Hector Berlioz. Charles François Gounodwas also unable to escape this hypnotic story, which served as the basis of the composition for what would eventually become his most popular opera.
Of the entire opera, his attention was centered on the fragment of the plot which relates the accursed love between Faust and Marguerite. This choice would cause a certain discomfort in the German milieu, as it was not easily forgiven that he should manipulate what was considered to be one of the most undeniable masterworks of national art–– but it would prove to be an indisputable evolution in the universe of French opera: Faust relinquished unnecessary musical virtuosity in favor of simple melodies, employing great freshness, cleverly adapted to the rhythm of the text and wrapped in an expressive and often surprising orchestral accompaniment. The drama improves with the intimacy, thus creating the perfect atmosphere in which to place a story which even today continues to captivate us.
New production by the Teatro Real, in co-production with De Nationale Opera & Ballet of Amsterdam
