MEFISTOFELE (Boito) San Francisco 1989 Samuel Ramey, Gabriela Benackova, Dennis O’Neill

MEFISTOFELE by Arrigo Boito
War Memorial Opera House, San Francisco, California
1989

CAST
Mefistofele: Samuel Ramey
Margherita and Elena: Gabriela Benackova
Faust: Dennis O’Neill
Marta: Judith Christin
Pantalis: Emily Manhart
Wagner: Daniel Harper
Nereo: Douglas Wunsch
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Conductor: Maurizio Arena
San Francisco Opera Orchestra
Chorus of the San Francisco Opera
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Robert Carsen — Stage director
Michael Levine — Set designer
Thomas J. Munn — Lighting
Jennifer Green — Costumes designer
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Mefistofele (Italian pronunciation: [mefiˈstɔːfele]) is an opera in a prologue and five acts, later reduced to four acts and an epilogue, the only completed opera with music by the Italian composer-librettist Arrigo Boito (there are several completed operas for which he was librettist only). The opera was given its premiere on 5 March 1868 at La Scala, Milan, under the baton of the composer, despite his lack of experience and skill as a conductor.

However, it was not a success and was immediately withdrawn after only two performances both of which were hissed at by the audiences. Revisions in 1875 resulted in success in Bologna and, with further adjustments in 1876 for Venice, the opera was performed elsewhere.

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Boito began consideration of an opera on the Faustian theme after completing his studies at the Milan Conservatory in 1861. Mefistofele is one of many pieces of classical music based on the Faust legend and, like many other composers, Boito used Goethe’s version as his starting point. He was an admirer of Richard Wagner and, like him, chose to write his own libretto, something which was virtually unheard of in Italian opera up to that time. Much of the text is actually a literal translation from Goethe’s German to Boito’s Italian.

The most popular earlier opera based on the legend was Gounod’s Faust, which Boito regarded as a superficial and frivolous treatment of a profound subject. Furthermore, Boito was contemptuous of what he saw as the low operatic standards prevailing in Italy at that time, and he determined to make his new work distinctive, both musically and intellectually, different from anything that had been heard before. He hoped that it would be a wake-up call and an inspiration to other young Italian composers.

A heavenly chorus of angels praises God the Creator. Mefistofele scornfully declares that he can win the soul of Faust. His challenge is accepted by the Forces of Good.

Scene 1, Easter Sunday

The aged Dr. Faust and his pupil Wagner are watching the Easter celebrations in the main square in Frankfurt. Faust senses that they are being followed by a mysterious friar, about whom he senses something evil. Wagner dismisses his master’s feelings of unease and as darkness falls they return to Faust’s home.

Scene 2, The Pact

Faust is in his study, deep in contemplation. His thoughts are disturbed in dramatic fashion by the sudden appearance of the sinister friar, whom he now recognizes as a manifestation of the Devil (Mefistofele). Far from being terrified, Faust is intrigued and enters into a discussion with Mefistofele culminating in an agreement by which he will give his soul to the devil on his death in return for worldly bliss for the remainder of his life.

Scene 1, The Garden

Restored to his youth, Faust has infatuated Margareta, an unsophisticated village girl. She is unable to resist his seductive charms and agrees to drug her mother with a sleeping draught and meet him for a night of passion. Meanwhile, Mefistofele amuses himself with Martha, another of the village girls.

Scene 2, The Witches Sabbath

Mefistofele has carried Faust away to witness a Witches’ Sabbath on the Brocken mountain. They reach to the top and hear the sound of witches approaching from below. They draw near and Mefistofele, declaring himself king, calls to them to bow down before him. The devil mounts his throne and proclaims his contempt for the World and all its worthless inhabitants. As the orgy reaches its climax, Faust sees a vision of Margherita, apparently in chains and with her throat cut. Mefistofele reassures him that the vision was a false illusion. The revels continue.

Faust’s vision had been true. Margareta lies in a dismal cell, her mind in a state of confusion and despair. She has been imprisoned and condemned to death for poisoning her mother with the sleeping draught supplied by Faust and for drowning the baby she had borne him. Faust begs Mefistofele to help them escape together. They enter the cell and at first Margareta does not recognize her rescuers. Her joy at being reunited with Faust turns to horror when she sees Mefistofele and recognizes that he is the devil. Refusing to succumb to further evil, Margareta begs for divine forgiveness. She collapses to the cell floor as the Celestial choir proclaims her redemption.

Mefistofele has now transported Faust back in time to Ancient Greece. Helen of Troy and her followers are enjoying the luxurious and exotic surroundings on the banks of a magnificent river. Faust, attired more splendidly than ever, is easily able to win the heart of the beautiful princess. In a passionate outpouring they declare their undying love and devotion to each other.

Back in his study, Faust, once more an old man, reflects that neither in the world of reality nor of illusion was he able to find the perfect experience he craved. He feels that the end of his life is close, but desperate for his final victory, Mefistofele urges him to embark on more exotic adventures. For a moment Faust hesitates, but suddenly seizing his Bible he cries out for God’s forgiveness. Mefistofele has been thwarted; he disappears into the background as Faust dies and the Celestial choir once more sings of ultimate redemption.

Quoted from Wikipedia