Gounod's tuneful story about an old professor who sells his soul to the Devil, and the pretty virgin who is destroyed by this bargain, was once the most popular opera in the world. Seattle Opera has presented it four times, and we suspect the opera-lovers of Seattle were already singing along at our first FAUST in 1964.

Faust

In Act 2 of Gian Carlo Menotti’s “The Consul,” the magician Nika Magadoff (Alex Mansoori) hypnotizes everyone in the consulate and makes them dance: 
Oh, what a lovely ballroom this is...
the floor shines with precious marble.
Look how the light falls bright and clear 
from twenty crystal chandeliers.
Look at the crimson walls, hung with golden mirrors. 
Ah, listen:  the music has begun.
Ah! How you'd love to dance with your loved one...
But where is he? But where is she?
There, there he is!  He's bowing to you.
Look, there she is...bow to her.
What are you waiting for?
The floor is empty, the music sweet...
the dance is on.
Carlo Montanaro conducts the orchestra of Seattle Opera. Elise Bakketun, photo
Seattle Opera, The Consul, Menotti, Carlo Montanaro, Alex Mansoori


THE CONSUL: ALEX MANSOORI as Nika Magadoff

In Act Two of Gilbert & Sullivan’s THE PIRATES OF PENZANCE the pirates plan to storm Major-General Stanley’s house in the middle of the night, unaware that a crowd of policemen, relentlessly imitating trumpets to embolden themselves, are waiting to ambush and arrest them. After failing to be as quiet as they claim, the pirates sing one of Sullivan’s most beloved tunes—actually, Sullivan’s copyright piracy of Verdi’s “Anvil Chorus” from IL TROVATORE. Francesco Milioto conducted the chorus & orchestra of The Atlanta Opera in Atlanta in 2021. Music provided by The Atlanta Opera Film Studio.

PIRATES: With cat-like tread,
Upon our prey we steal; 
In silence dread,
Our cautious way we feel.
No sound at all,
We never speak a word, 
A fly’s foot-fall
Would be distinctly heard.
POLICE: (Tarantara, tarantara!)
PIRATES: So stealthily the pirate creeps,
While all the household soundly sleeps. 
Come, friends, who plough the sea,
Truce to navigation; 
Take another station;
Let’s vary piracee 
With a little burglaree!

PIRATES: “With cat-like tread”

In the second act love scene from Gounod's FAUST, the devil Méphistophélès sets the scene for Faust's seduction of the innocent Marguerite. Whereas some opera traditions would use wild vocal pyrotechnics for a scene of magic and witchcraft, here, in keeping with the restraint and delicacy of French opera, the words carry most of the magic, while the slowly descending vocal line implies the inevitable gravitational attraction of entropy and evil. 

Il était temps! sous le feuillage sombre
Voici nos amoureux qui reviennent! c’est bien!
Gardons-nous de troubler un si doux entretien!
O nuit, étends sur eux ton ombre!
Amour, ferme leur âme aux remords importuns!
Et vous, fleurs aux subtils parfums,
Épanouissez-vous sous cette main maudite!
Achevez de troubler le coeur de Marguerite!
"It was time...beneath the dark leaves, see, our lovers are returning. Very well. Mustn't disturb such an intimate encounter. O night, spread your shadow over them. Love, close up their souls to cries of remorse. And you, flowers with subtle perfumes, blossom beneath my cursed hand; may you corrupt the heart of Marguerite!"

Greer Grimsley sang Méphistophélès at Seattle Opera in 1998, with the Seattle Opera orchestra conducted by Maximiano Valdés. 
Image: Traditional costume design for Méphistophélès

FAUST's Méphistophélès Casts His Spell

At the climax of Gounod's FAUST, the three principals join their voices in a stupendous trio. Seduced and abandoned by Faust (Vinson Cole), Marguerite (Cynthia Haymon) is on death row, awaiting execution for having killed her child. Faust and Méphistophélès (Greer Grimsley) come to spring her from prison, but, recognizing Méphistophélès for the devil he is, she rejects them and begs the Lord to receive her soul. "Away! You horrify me!" she cries to Faust as she dies. "Condemned!" screams the devil. But a heavenly choir—placed in the top balcony of the old Seattle Opera House in 1998—contradicts him and welcomes this penitent sinner's soul into the everlasting. Maximiano Valdés conducted Greer Grimsley, Cynthia Haymon, Vinson Cole, and the chorus and orchestra of Seattle Opera. 
Image: 1835 FAUST Lithograph by Wilhelm Hensel

Marguerite's Salvation from FAUST

Dale Duesing, Seattle Opera's resident heartthrob barihunk in the late '80s and early '90s, sings the famous baritone aria "Avant de quitter ces lieux" from Gounod's FAUST. Before heading off to war, this young soldier prays the Lord to watch over his beloved sister Marguerite while he is gone. Alas, the devil Méphistophélès has great plans for Marguerite. Hermann Michael conducted Duesing and the orchestra of Seattle Opera. 
Image: Seattle Opera photo of Dale Duesing as Valentin

"Avant de quitter ces lieux" from FAUST

One of the most popular tunes in all French opera, this march from Gounod's FAUST is sung by Valentin and his comrades as they return to their hometown after conflict and strife. They sing of their desire not to disgrace their valiant ancestors. Maximiano Valdés conducted the chorus and orchestra of Seattle Opera in 1998.

Soldier's Chorus from FAUST

Join me as I sit down with Emily Cabiness, librarian and archivist for the Seattle Opera. We discuss the art of opera, through both process and product. How does it stay relevant in contemporary life? What kind of collaborative work does it take to put on a production? What does a librarian do for an opera company? How does music help us express the otherwise ineffable? 

A funny, engaging, and emotional chat with a good friend of the show.

(Disclaimer: Emily participated in this discussion outside of her official duties with the Seattle Opera. As such, all of her opinions are her own, and do not necessarily reflect the views of the Seattle Opera or any affiliated staff or artists!)

For more information about the Seattle Opera, including upcoming shows and events, visit https://www.seattleopera.org/ 

For those interested in listening to Emily’s scene selections further, please see the recorded versions below:

Mozart’s The Marriage of Figaro - “Pace Pace Mio Dolce Tesoro” - https://open.spotify.com/track/3EQrqvdRO7VMWSPKSlCdSe

Wager’s The Valkyrie - “War Es So Schmählich”
https://open.spotify.com/track/68CZHU1J4F89quxGwQOQGn

All clips and music used under Creative Commons and Fair Use policies.

Ping: Opera With Emily

Founded in 1963, Seattle Opera is a leading American opera company. The company presents the classics of the European repertoire as well as new works of American opera. Frequent productions of Wagner's RING, beginning in 1975, established the company's worldwide reputation. Seattle Opera usually presents five opera productions each year.

FAUST's Méphistophélès Casts His Spell

Seattle Opera

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