When the great German poet and playwright Johann Wolfgang von Goethe published his Faust in 1808 little did he suspect that his play would spawn a series of musical works later that century. But the story of a man selling his soul to the devil for youth and worldly pleasures ignited the romantic imagination. Countless composers wrote works based on the play, among them Robert Schumann, Richard Wagner, Franz Liszt, Charles Gounod and Hector Berlioz.
Hector Berlioz
Berlioz first read Faust in 1828 in a French translation. It made such a tremendous impact on him that it inspired him to write a choral/orchestral work that same year, the Huit Scènes de Faust. It was Berlioz’s first published work. Later, however, he rejected it and recalled as many copies of it he could find.
However, he returned to Huit Scènes nearly 20 years later to expand it and turn it into a larger work, with additional texts. That became his “dramatic legend” La damnation de Faust. It received its first performance at the Opéra-Comique in Paris in 1846 and is unquestionably one of his greatest works and one of the most powerful and vivid musical settings of the Faust story.
La damnation de Faust will be performed by the Utah Symphony and Chorus under music director Thierry Fischer this weekend.
Thierry Fischer (Photo Courtesy Utah Symphony)
Fischer, who has conducted performances of Berlioz’s Roméo et Juliette and L’enfance du Christ since coming to Salt Lake City, is particularly attracted to Faust. “What appeals to me is the loneliness of Faust,” Fischer said in an interview with Reichel Recommends. Because he is lonely, “he cracks so easily and comes under the spell of Mephistopheles and quickly falls in love with Marguerite.”
Berlioz took liberties with Goethe’s Faust. Instead of being saved in the end, he is damned and rides off into hell with Mephistopheles. But whether or not Faust is redeemed, Fischer believes the story is timeless. “You identify yourself in the drama, because Berlioz’s work is so sincere. Faust could be any one of us among the audience or among the performers,” Fischer said. “For us in today’s world, the story is an invitation to discover our own strong values.”
Fischer said “a fantastic cast” has been assembled for this weekend’s performances. “They are all young singers and they are wonderful.”
In the title role is the American tenor Michael Spyres, who is quickly becoming an international opera star. “He will be reprising the role in three weeks with the London Symphony and [Valery] Gergiev,” Fischer said.
Taking on the pivotal role of Mephistopheles is the English baritone Roderick Williams, a singer with whom Fischer has collaborated on several occasions. “We have done the Fauré Requiem, some Kurt Weill songs and Mahler’s Des Knaben Wunderhorn together,” Fischer said.
Rounding out the cast of soloists is mezzo-soprano Kate Lindsey as Marguerite; bass-baritone Adam Cioffari as Brander; and soprano Tara Stafford-Spyres as the Celestial Voice.
Fischer is looking forward to this weekend. “All the ingredients are there for a spectacular performance,” he said.
- CONCERT DETAILS
- What: Hector Berlioz, La damnation de Faust
- Venue: Abravanel Hall
- Time and Date: 8 p.m. Sept. 27-28
- Tickets: $18-$69 ($5 higher when purchased on day of performance)
- Phone: 801-355-2787, 888-451-2787
- Web: www.utahsymphony.org