Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.14
J. Amblard
Pascal Dusapin, an acclaimed French composer, created the opera Faustus, the Last Night in 2005–6. In this dark work, the myth of Faust from the perspective of Marlowe’s tragedy, Doctor Faustus, is revisited through the prism of different contemporary topics and a general atmosphere of tragicomedy, perhaps typical of postmodern times. The composer called on his well-known prosodic style (a translation in music of the intonation of speech). But he also experimented with a new style, more typical of the early 2000s and their relative aesthetic return (or stagnation), which is more “Romantic,” dedicated to the strings. This new Romanticism seems well adapted to the archaic Faust theme and its association with pain, fate, and damnation.
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Pub Date : 2019-10-10DOI: 10.1093/oxfordhb/9780199935185.013.8
Maureen A. Carr
Created by Igor Stravinsky, in collaboration with W. H. Auden and Chester Kallman, the Faustian opera The Rake’s Progress (1947–51) was inspired by a series of engravings by William Hogarth. The collaboration between Stravinsky and Auden is a fascinating study, not only because of the way in which these luminaries interacted to produce this masterwork, but also because it provides insights into Stravinsky’s compositional process for his first dramatic work that involved the setting of a text in English. This chapter provides a glimpse into the process for specific musical passages in The Rake’s Progress and considers certain parallels between the storyline of Auden’s text and that of Goethe’s Faust.
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Pub Date : 2019-08-12DOI: 10.1093/OXFORDHB/9780199935185.013.34
Michele Girardi
Arrigo Boito sought to escape the limiting conventions of contemporary melodrama in order to revolutionize Italian opera. However, the most radical expression of that effort, his adaptation of Goethe’s Faust, Mefistofele (Mephistopheles), which premiered at La Scala in 1868, did not attain the desired result. In reworking the score, the composer took practical concerns into account, making the opera more pleasing to the mainstream audiences who demanded melodious vocal lines and a tighter dramatic pace. The revised version staged in Bologna in 1875 and the subsequent revivals marked an important turning point: what had been an avant-garde work now entered into the repertoire of all the major theaters. This chapter retraces Boito’s journey from the setback of the premiere to the success for which he strove so diligently, highlighting the creative process that forged a new relationship between poetry and music, which Giuseppe Verdi later exploited in his collaboration with the poet.
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Pub Date : 1900-01-01DOI: 10.1093/OXFORDHB/9780199935185.013.35
D. Conway
Heinrich Heine’s 1846–47 scenario for a Faust ballet, Der Doktor Faust: ein Tanzpoem (Doctor Faust: A Ballet Poem), languished for eighty years before finding a musical setting by František Škvor and a production in Prague in 1926 that was true to its spirit. Another setting was made by a Viennese emigré, Henry Krips, in Australia during World War II. But it was only with the production of Abraxas, the version by Werner Egk, in postwar Germany, that the scenario fulfilled Heine’s prediction that it would “excite a furore beyond all our expectation, and even take a place in the annals of the drama.”
海因里希·海涅(Heinrich Heine)于1846年至1847年为浮士德芭蕾舞剧创作的剧本《浮士德博士:一首芭蕾诗》(Der dr . Faust: ein Tanzpoem)在沉寂了80年后，终于在František Škvor找到了一个音乐背景，并于1926年在布拉格上演，真正体现了它的精神。另一个场景是由维也纳移民亨利·克里普斯(Henry Krips)在二战期间在澳大利亚制作的。但直到沃纳·埃克(Werner Egk)的版本《阿布拉克斯》(Abraxas)在战后的德国上映后，这个场景才实现了海涅的预言，即它将“激起超出我们所有预期的愤怒，甚至在戏剧编年史上占有一席之地”。
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