Transcriber Notes:
1. The original text is dual column, with English on the LHS and French on the RHS. In this version, the complete English text is presented first, followed by the complete French text.
2. The page numbering is, of necessity, quite different from the original text. Each scene and score simply has its own page number.
3. The Table of Contents below was created specifically for this version, there was no Table of Contents in the original version.
CONTENTS
GRAND OPERA LIBRETTOS
FRENCH AND ENGLISH TEXT
AND MUSIC OF THE PRINCIPAL AIRS
FAUST
BY
GOUNOD
Boston : OLIVER DITSON COMPANY : New York
OPERA SCORES
All the vocal scores have English text together with the foreign text mentioned below. Unless otherwise specified, these books are bound in paper.
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OLIVER DITSON COMPANY
FAUST
A LYRIC DRAMA IN FIVE ACTS
BOOK BY
J. BARBIER AND M. CARRÉ
MUSIC BY
CHARLES GOUNOD
30
BOSTON: OLIVER DITSON COMPANY: NEW YORK
CHICAGO: LYON & HEALY, INC. LONDON: WINTHROP ROGERS, LTD.
Copyright MCMVI by Oliver Ditson Company
CHARACTERS
Peasants, Townspeople, Soldiers, Students, Priests, Boys, Etc. The scene is in Germany in the sixteenth century.
PREFATORY NOTE
The legend of the magician Faust and his compact with the Devil comes from remote antiquity. At first in the form of folk tales in many lands, through ballads and the primitive drama it found its way into literature. It remained for the master-poet, Goethe, to fuse all the elements of the legend into an imaginative drama of unequaled ethical and poetic interest, to give the story the form in which it appeals most strongly to the modern mind.
Innumerable musical works of every form have drawn inspiration from the story of Faust. Wagner's concert-overture, Liszt's symphony, and the beautiful fragments by Schumann are among the noblest of such works. Stage versions of the legend have been numerous, but the first really poetic creation was Spohr's opera of "Faust," composed in 1813. Since its appearance there has been an abundance of Faust operas by English, German, French and Italian composers down to the imaginative but fragmentary "Mefistofele" of Boito (1868). But of all the stage versions that have claimed the public attention, that of Barbier and Carré, made after Goethe's drama and set to music by Charles Gounod, is far and away the most popular, and may be regarded, in its lyric dress, as the most successful also. There exists scarcely a single rival to the popularity of Gounod's "Faust" among opera-goers.
The love story with which the French librettists concerned themselves exclusively is wholly Goethe's conception, and finds no place in the old legends concerning the magician Faust. With true Gallic instinct they seized this pathetic episode as being best adapted for a lyric setting, and making the most potent appeal to the emotions of the spectators. But to the composer himself is due the credit of suggesting the story of Faust as a suitable subject for musical treatment.
THE STORY OF THE ACTION
Act I. —Faust, an aged philosopher, who has grown weary of life, and of the vain search for the source of all knowledge, decides, after a nightlong vigil, to end his existence by taking poison. In the act of raising the cup to his lips his hand is arrested by the sound of merry voices of maidens singing in the early morning of the joy of living. Again he essays to drink, but pauses to listen to the song of the reapers on their way to the fields, voicing their gratitude to God. Excited to a frenzy of rage, Faust curses all that is good and calls upon the Evil One to aid him. Mephistopheles appears, and offers gold, glory, boundless power; but the aged doctor craves youth, its passions and delights. The fiend agrees that all shall be his if he but sign a compact, by which the devil serves Faust on earth, but in the hereafter below the relation is to be reversed. Faust wavers at first, but a vision of Marguerite appears, which inflames his ardor and dispels his hesitation; he drinks the potion and is transformed into a young and handsome man.
Act —A Kermesse or town fair. Groups of students, soldiers, old men, maids and matrons fill the scene. Valentine, the brother of Marguerite, about to leave for the wars, commends his sister to the care of Siebel, who timidly adores her. While Wagner, a student, is attempting a song, he is interrupted by Mephistopheles who volunteers to sing him a better one (the mocking "Calf of Gold"). Then the fiend causes a fiery liquor to flow miraculously from the tavern sign, and proposes the health of Marguerite. Valentine resents the insult, but his sword is broken in his hand, and Mephistopheles draws a magic circle around himself and bids defiance to the rapiers of the soldiers. These, now suspecting his evil nature, hold their cruciform sword-hilts toward Mephistopheles, who cowers away at the holy symbol. The fête is resumed; in the midst of the revelry Marguerite enters, returning home from church. Faust offers to escort her home, but she timidly declines his assistance, and leaves him enamoured of her beauty. The act closes with a merry dance of the townspeople.
Act I —The scene shows the garden of Marguerite's dwelling. Siebel enters to leave a nosegay on the doorstep of his charmer. The flowers he plucks wither at his touch, due to an evil spell cast upon him by the fiend, which he, however, breaks by dipping his hand in holy water. Faust and Mephistopheles conceal themselves in the garden after having left a casket of jewels on the doorstep near Siebel's modest offering. Marguerite returns home and seats herself at the spinning-wheel, singing the while a song of the "King of Thule." But she interrupts the song to dream of the handsome stranger who had spoken to her at the fête. Upon discovering the jewels, she cannot forbear to adorn herself. While thus occupied, Faust and his evil ally appear. The latter engages the girl's flighty neighbor, Martha, in conversation, while Faust pleads his passion's cause successfully with Marguerite.
Act IV. —Betrayed and deserted by her lover, Marguerite must bear the scorn of her former companions. Siebel alone is faithful, and speaks comforting words. She goes to the church to pray; but her supplications are interrupted by the mocking fiend at her elbow, by the accusing cries of demons, and by the stern chants of the worshipers. Finally Mephistopheles appears to the sight of the wretched girl, who swoons with terror.
The return of the victorious soldiers brings back Valentine, who hears evil stories of his sister's condition. Aroused by an insulting serenade which Mephistopheles, accompanied by Faust, sings beneath Marguerite's window, Valentine engages in a duel with the latter and is wounded to the death. Dying, he curses Marguerite, who comes from the church to his side, and accuses her of bringing him to his end.
Act V. —Marguerite, her reason shaken by her misfortunes, has killed her child, and for this crime she is thrown into prison, and condemned to die. Faust, aided by Mephistopheles, obtains access to her cell and urges her to fly with him; but her poor mind cannot grasp the situation, and recurs only to the scenes of their love. When she sees Faust's companion, she turns from him in horror, falls upon her knees, and implores the mercy of heaven. As she sinks in death, Mephistopheles pronounces her damned, but a heavenly voice proclaims her pardoned; and while a celestial choir chants the Easter hymn the soul of Marguerite is seen borne up to heaven by angels. Faust falls to his knees, and the devil crouches beneath the shining sword of an archangel.
First performed at the Théâtre Lyrique, Paris, March 19, 1859, with the following cast:
ACT I.
SCENE I.
Faust's Study.
(Night. Faust discovered, alone. He is seated at a table covered with books and parchments; an open book lies before him. His lamp is flickering in the socket.)
(Pours liquid from the flask into a crystal goblet. Just as he is about to raise it to his lips, the following chorus is heard, without.)
SCENE II.
Faust and Mephistopheles.
ACT II.
SCENE I.
The Kermesse.
(One of the city gates. To the left, an Inn, bearing the sign of the god Bacchus.)
Wagner, Students, Burghers, Soldiers, Maidens, and Matrons.
SCENE II.
Wagner, Siebel, Valentine, Students, and afterwards Mephistopheles.
SCENE III.
Mephistopheles and the preceding.
SCENE IV.
Mephistopheles, then Faust.
SCENE V.
(Students, with Maidens on their arms, preceded by Musicians, take possession of the stage. Burghers in the rear, as at the commencement of the act.)
Students, Maidens, Burghers, etc., afterwards Siebel and Marguerite.
(Siebel retreats before Mephistopheles, who then compels him to make a circuit of the stage, passing behind the dancers.)
(He is about to hurry after Marguerite, when he suddenly finds himself face to face with Mephistopheles—he hastily turns away and leaves the stage.)
ACT III.
SCENE I.
Marguerite's Garden.
(At the back a wall, with a little door. To the left a bower. On the right a pavilion, with a window facing the audience. Trees, shrubs, etc.)
Siebel, alone. (He enters through the little door at the back, and stops on the threshold of the pavilion, near a group of roses and lilies.)
(Plucks flowers in order to make a bouquet, and disappears amongst the shrubs.)
SCENE II.
Mephistopheles, Faust, and Siebel.
(Exit Siebel, after fastening bouquet to the door of the pavilion.)
SCENE III.
Faust and Mephistopheles.
SCENE IV.
Faust.
SCENE V.
Faust, Mephistopheles.
(Draws Faust after him, and disappears in the garden. Marguerite enters through the doorway at the back, and advances silently to the front.)
SCENE VI.
Marguerite.
(Puts down the casket on a rustic seat, and kneels down in order to adorn herself with the jewels.)
SCENE VII.
Marguerite and Martha.
(Mephistopheles and Faust enter.)
SCENE VIII.
Mephistopheles, Faust, and the before-named.
(Marguerite yields her arm to Faust, and withdraws with him. Mephistopheles and Martha remain together.)
SCENE IX.
Mephistopheles.
SCENE X.
Faust and Marguerite.
SCENE XI.
Faust, Mephistopheles.
(Marguerite opens the window of the pavilion, and remains with her head resting on her hand.)
SCENE XII.
The preceding. Marguerite.
(Marguerite, overcome, allows her head to fall on Faust's shoulder. Mephistopheles opens the door of the garden, and departs, laughing derisively. The curtain falls.)
ACT IV.
SCENE I.
Marguerite's Room. Siebel and Marguerite.
(Exit. Siebel follows slowly after.)
SCENE II.
Interior of a Church. Marguerite, then Mephistopheles.
(Women enter the church and cross the stage. Marguerite enters after them, and kneels.)
(He disappears.)
SCENE III.
The Street. Valentine, Soldiers, then Siebel.
SCENE IV.
Valentine and Siebel.
(Approaches the church. Faust and Mephistopheles enter at the back; Mephistopheles carries a guitar.)
SCENE V.
Faust and Mephistopheles.
(Faust goes towards Marguerite's house, but hesitates.)
(Valentine rushes from the house.)
SCENE VI.
Valentine and the before-named.
(Exit, dragging Faust after him.)
SCENE VII.
(Enter Citizens, with lighted torches; afterwards Siebel and Marguerite.)
(Curtain.)
ACT V.
SCENE I.
A Prison.
Marguerite asleep; Faust and Mephistopheles.
SCENE II.
Mephistopheles and the preceding.
(The prison walls open. The soul of Marguerite rises towards heaven. Faust gazes despairingly after her, then falls on his knees and prays. Mephistopheles turns away, barred by the shining sword of an archangel.)
End of the Opera.
ACTE PREMIER.
SCÈNE PREMIERE.
Le Cabinet de Faust.
(Faust, seul. Sa lampe est près de s'eteindre. Il est assis devant une table chargée de parchemins. Un livre est ouvert devant lui.)
(Il verse le contenu de la fiole dans une coupe de cristal. Au moment où il va porter la coupe à ses lèvres, des voix de jeunes filles se font entendre au dehors.)
Jeunes Filles et Labs. Béni soit Dieu!
SCÈNE II.
Faust, Mephistopheles.
(Il fait un geste. Au fond du théâtre s'ouvre et laisse voir Marguerite assise devant son rouet et filant.)
ACTE DEUXIÈME.
SCÈNE PREMIÈRE.
La Kermesse.
(Une des portes de la ville. A gauche un caborte à l'enseigne du Bacchus)
Wagner, Etudiants, Bourgeois, Soldats, Jeunes Filles, Matrones.
(Bourgeois et Soldats remontent vers le fond du théâtre.)
(Un groupe de jeunes filles entre en scène.)
(Les étudiants et les soldats séparent les femmes en riant. Tous les groupes s'éloignent et disparaissent.)
SCÈNE II.
Wagner, Siebel, Etudiants, Valentin.
Sie. Sur moi tu peux compter!
Etuds. Compte sur nous aussi!
SCÈNE III.
Les mêmes. Mephistopheles.
(Ils sortent.)
SCÈNE IV.
Mephistopheles, puis Faust.
SCÈNE V.
(Les étudiants et les jeunes filles, bras dessus, bras dessous, et précédés par des joueurs de violon, envahissent la scène. Ils sont suivie par les bourgeois qui ont paru au commencement de l'acte.)
Les Mêmes, Étudiants, Jeunes Filles, Bourgeois, puis Siebel et Marguerite.
(Siebel recule devant Mephistopheles, qui lui fait faire ainsi la tour du théâtre en passant derrière le groupe des danseurs.)
(Il va pour s'élancer sur la trace de Marguerite; mais, se trouvant de nouveau face à face avec Mephistopheles, il lui tourne le dos et s'éloigne par le fond du théâtre.)
ACTE TROISIÈME.
SCÈNE PREMIÈRE.
Le Jardin de Marguerite.
(Au fond, un mur percé d'une petite porte. A gauche, un bosquet. A droite, un pavillon dont la fenêtre fait face au public. Arbres et massifs.)
(Il s'approche du pavillon et trempe ses doigts dans un bénitier accroché au mur.)
(Il cueille des fleurs pour former un bouquet et disparaît dans les massifs du jardin.)
SCÈNE II.
Mephistopheles, Faust, puis Siebel.
(Siebel attache le bouquet à la porte du pavillon et sort.)
SCÈNE III.
Faust, Mephistopheles.
(Il sort.)
SCÈNE IV.
Faust.
SCÈNE V.
Faust, Mephistopheles.
(Mephistopheles reparaît, une cassette sous le bras.)
(Il entraine Faust et disparaît avec lui dans le jardin. Marguerite entre par la porte du fond et descend en silence jusque sur le devant de la scène.)
SCÈNE VI.
Marguerite.
(Elle s'assied dans le bosquet, devant son rouet, et prend son fuseau autour duquel elle prépare de la laine.)
(Au moment d'entrer dans la pavillon, elle aperçoit la bouquet suspendu à la porte.)
SCÈNE VII.
Marguerite, Marthe.
Mar. (avec confusion).
(Mephistopheles et Faust entrent en scène.)
SCÈNE VIII.
Les Mêmes, Mephistopheles, Faust.
(Marguerite baisse les yeux sous le regard de Mephistopheles, se hâte d'ôter le collier, le bracelet et les pendants d'oreilles et de les remettre dans la cassette.)
(Marguerite abandonne son bras à Faust et s'éloigne avec Mephistopheles et Marthe restent seuls en scène.)
(Mephistopheles et Marthe reparaissent.)
SCÈNE IX.
Mephistopheles.
(Il s'éloigne et disparaît dans l'ombre.)
SCÈNE X.
Faust, Marguerite.
SCÈNE XI.
Faust. Mephistopheles.
(Marguerite ouvre la fenêtre du pavillon et s'y appuie un moment en silence, la tête entre les mains.)
SCÈNE XII.
Les mêmes. Marguerite.
(Marguerite reste un moment interdite et laisse tomber sa tête sur l'épaule de Faust; Mephistopheles ouvre la porte du jardin et sort en ricanant. La toile tombe.)
ACTE QUATRIEME.
SCÈNE PREMIERE.
La Chambre de Marguerite.
Marguerite, Siebel.
SCÈNE II.
L'Église.
Marguerite, puis Mephistopheles.
(Quelques femmes traversent la scène et entrent dans l'église. Marguerite entre après elles et s'agenouille.)
(Mephistopheles parait derrière un pilier et se penche à l'oreille de Marguerite.)
SCÈNE III.
La Rue.
Valentin, Soldats, puis Siebel.
SCÈNE IV.
Valentin, Siebel.
(Il s'éloigne; Mephistopheles et Faust entrent en scène; Mephistopheles tient une guitare à la main.)
SCÈNE V.
FAUST, MEPHISTOPHELES.
(Faust se dirige vers la maison de Marguerite et s'arrête.)
(Faust, pensif, se tient à l'écart. Mephistopheles s'accompagne sur sa guitare.)
(Valentin sort de la maison.)
SCÈNE VI.
Les mêmes. Valentin.
(Il entraîne Faust. Arrivent Marthe et des bourgeois portant des torches.)
SCÈNE VII.
Valentin, Marthe, Bourgeois, puis Siebel et Marguerite.
ACTE CINQUIÈME.
SCÈNE PREMIÈRE.
La Prison.
Marguerite, endormie, Faust, Mephistopheles.
SCÈNE II.
Les mêmes. Mephistopheles.
(Les murs de la prison se sont ouverts. L'âme de Marguerite s'élève dans les cieux. Faust la suit des yeux avec désespoir; il tombe à genoux et prie. Mephistopheles est à demi renversé sous l'épée lumineuse de l'archange.)
Fin.
Selected Aria Scores
ACT I:— A MOI LES PLAISIRS (OH, I WOULD HAVE PLEASURE)
ACT II:— WALTZ AND CHORUS
ACT III:— O NUIT D'AMOUR (O NIGHT OF LOVE)
ACT IV:— SOLDIER'S CHORUS
ACT V:— ANGES PUR, ANGES RADIEUX (HOLY ANGELS, IN HEAVEN BLEST)
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All librettos have English text. Additional texts are indicated by Italic letters, as follows: I, Italian; G, German; F, French. Those marked with (*) contain no music. All the others have the music of the principal airs.
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