Gounod, Charles (1818-1893) | Faust |
Teatro Real | |||
Dan Ettinger | Direction | ||
Àlex Ollé | Mise en scène | ||
Alfons Flores | Décors | ||
Lluc Castells | Costumes | ||
Orquesta Titular del Teatro Real | |||
Coro Titular del Teatro Real | |||
Marina Rebeka | Soprano | Marguerite | 2018 sept. 19, 22, 24, 28, oct. 01, 04, 07 |
Irina Lungu | Soprano | Marguerite | 2018 sept. 20, 23, 27, 30, oct. 03, 06 |
Piotr Beczała | Ténor | Faust | 2018 sept. 19, 22, 24, 28, oct. 01, 04, 07 |
Ismael Jordi | Ténor | Faust | 2018 sept. 20, 23, 27, 30, oct. 03, 06 |
Luca Pisaroni | Baryton | Méphistophélès | 2018 sept. 19, 22, 24, 28, oct. 01, 04, 07 |
Erwin Schrott | Baryton-basse | Méphistophélès | 2018 sept. 20, 23, 27, 30, oct. 03, 06 |
Adam Palka | Basse | Méphistophélès | 2018 sept. 30, oct. 03 |
Sylvie Brunet-Grupposo | Mezzo-soprano | Marthe | 2018 sept. 19, 22, 24, 28, oct. 01, 04, 07 |
Diana Montague | Mezzo-soprano | Marthe | 2018 sept. 20, 23, 27, 30, oct. 03, 06 |
Serena Malfi | Mezzo-soprano | Siebel | 2018 sept. 19, 22, 24, 28, oct. 01, 04, 07 |
Annalisa Stroppa | Mezzo-soprano | Siebel | 2018 sept. 20, 23, 27, 30, oct. 03, 06 |
Stéphane Degout | Baryton | Valentin | 2018 sept. 19, 22, 24, 28, oct. 01, 04, 07 |
John Chest | Baryton | Valentin | 2018 sept. 20, 23, 27, 30, oct. 03, 06 |
Isaac Galán | Basse | 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