Celebrating Charles Gounod's Faust, which premiered on this date in 1859

Erwin Schrott as Méphistophélès

Today we celebrate Charles Gounod's Faust, which premiered on March 19, 1859. We love the opera because it is one of a select group of operas that can feature three barihunks in a single evening. The roles of Méphistophélès, Valentin and Wagner are all cast with baritones. Méphistophélès is often cast with devilishly sexy baritones like John Relyea, Rene Pape or James Morris.

The opera got off to a rough start, initially being rejected by the Paris Opera and then not quite catching on with the public. It was revived in 1862 with a ballet added for the Parisians and became an instant hit. It has gone on to become one of the most popular operas in the standard repertory, opened the original Metropolitan Opera in 1883 and has been translated into 25 languages. It is currently the 35th most performed opera in the world.

Rene Pape sings Méphistophélès' aria "Le Veau d'Or":

The opera is loosely inspired by Goethe’s legendary story and timeless tale of the devil (Méphistophélès) who appears to the old scholar Faust, promising him the elixir of youth in exchange for his soul. Faust is transformed into a young, handsome man and sets out with his devious companion to experience the pleasures of the world. Faust seduces the beautiful and innocent Marguerite, only to abandon her before she gives birth to his child. Her reputation destroyed, but not beyond redemption, Marguerite calls upon the angels for salvation. Faust receives no such escape and is condemned to his devilish fate in this spiritual conflict between heaven and hell.

Gino Quilico sings Valentin's aria "Avant de quiter ces lieux":

Some of the greatest singers ever have taken on the role of Méphistophélès, including George London, Rene Pape, Sam Ramey, Nicolai Ghiaurov, Jerome Hines, John Relyea, Bryn Terfel, Boris Christoff, Jose Van Dam and Feodor Chaliapin.

Other famous operas based on the same story include Boito's "Mefistofele," Berlioz's "La Damnation de Faust," and Busoni's "Doktor Faust." Boito's opera is probably closest to Goethe's original story.

There was some concern when the opera first premiered, as French censors were worried that church officials would be highly offended by the appearance of the devil in a church. Gounod invited a concerned clergyman to attend a rehearsal of the scene. The clergyman declared that he found the scene not at all offensive and, in fact, was quite complimentary of it. The censors were mollified and the scene was allowed. Gounod never told them that the clergyman was blind and could not tell that the scene took place inside a church. The "Church scene" from Gounod's opera, in which Méphistophélès torments the already distraught and guilty Marguerite by telling her that she is eternally damned for giving herself to Faust, is the dramatic crux of Gounod's opera.

The final trio from Faust with Anna Netrebko, Jonas Kaufmann and Erwin Schrott:

Although this site is dedicated to baritones, we'd be remiss to not show you this clip of tenor Alfredo Kraus singing Faust, which is one of the great moments in recorded operatic history.

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Elektra and La Cenerentola Both Debuted on February 25; Nelson Eddy's Connection to Elektra

Gino Quilico

Rossini's comic masterpiece "La Cenerentola" and "Elektra," Richard Strauss' bloody story of revenge couldn't be more different in mood or music. However, both debuted on this day in history almost 100 years apart. La Cenerentola debuted at the Teatro Valle in Rome in 1817 and Elektra in Dresden in 1909. We thought it would be fun highlight these two great works, despite neither being known as vehicles for barihunks.

The role of Don Magnifico is usually performed by older compramario singers, but here is barihunk Jason Hardy singing "Miei rampolli femminini"

La Cenerentola actually rivaled Rossini's "The Barber of Seville" in popularity for decades before mysteriously following out of favor. It found new life during the 1960s, as a series of great mezzos began taking on the title role. In 1899, Jules Massenet had success with his opera "Cendrillon," which is also based on the Cinderella story.

Rossini's libretto actually varies substantially from the actual story, which may have contributed to its decline in popularity. In Rossini's version, the wicked stepmother is replaced by a stepfather, Don Magnifico and the Fairy Godmother is replaced by Alidoro, a philosopher, and the Prince's tutor. Cinderella is identified not by her glass slipper but by her bracelet.

Gino Quilico sings "Come un'ape ne' giorni d'aprile" from Rossini's La Cenerentola:

In the opera, the Prince of Salerno, Don Ramiro, changes places with his valet, Dandini, and then meets the girl of his dreams - Cenerentola (Cinderella). Meanwhile, Cenerentola's stepsisters, Clorinda and Tisbe, fawn over the fake prince (Dandini). When Cenerentola is left alone, weeping, the Philosopher, Alidoro, takes her (dressed in beautiful clothing) to the palace, where she is an immediate hit with everyone - including Dandini. Confusion reigns when the identity of the real Prince is revealed.

The great ensemble "Questo è un nodo avviluppato"

Richard Strauss' "Elektra" is a one-act opera set to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama Elektra. The opera was the first of many collaborations between Strauss and Hofmannsthal. Elektra is musically complex and requires great stamina from the singers and orchestra. The role of Elektra is one of the most demanding in the dramatic soprano repertoire. Nevertheless, it solidly entrenched in the standard repertory and is certainly one of the most popular operas based on classical Greek mythology.

Nelson Eddy: The first Orest in the U.S.

The first United States performance of the opera in the original German was given by the Philadelphia Grand Opera Company at the Academy of Music in Philadelphia on October 29, 1931 with Nelson Eddy as Orest. Eddy, of course, would become one of Hollywood's biggest movie stars. However, he had a succesful career in opera before being forever remembered as Jeanette McDonald's singing partner in a series of musicals. 

Nelson Eddy sings "Largo al factotum" from Rossini's Barber of Seville":

In 1924, Eddy won the top prize in a competition that included a chance to appear with the Philadelphia Opera Society. By the late 1920s, Eddy was appearing with the Philadelphia Civic Opera Company and had a repertoire of 28 operas, including Amonasro in Aida, Marcello in La bohème, Papageno in The Magic Flute, Almaviva in The Marriage of Figaro, both Tonio and Silvio in Pagliacci, and Wolfram in Tannhäuser. Eddy also performed in Gilbert & Sullivan operettas with The Savoy Company.

Leonie Rysanek as Elektra and Dietrich Fisher-Dieskau as Orest.

The plot of Elektra is based upon the great Greek tragedy of the same name by the tragedian Sophocles. The unrelenting gloom and horror that permeate the original play produce, in the hands of Hofmannsthal and Strauss, a drama whose sole theme is revenge. Klytaemnestra (Clytemnestra), helped by her paramour Aegisth (Aegisthus), has secured the murder of her husband, Agamemnon, and now is afraid that her crime will be avenged by her children, Elektra (Electra), Chrysothemis, and their banished brother Orest (Orestes). 

Eberhard Wächter was a great Oreste

Elektra, who is the personification of the passionate lust for vengeance, tries to persuade her timid sister to kill Klytaemnestra and Aegisth. Before the plan is carried out, Orest, who had been reported as dead, arrives, determined upon revenge for his father's death. He kills Klytaemnestra and Aegisth; Elektra, in an ecstatic dance of triumph, falls dead in front of her horror-stricken attendants.

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