The Sun.
London, England, 1863-06-12 00:00:00

the Satanic that destroys Faust. Its version of
Mephistophiles is indeed its weakest conception.
He is drawn with all the lithe and supple traits
of the familliar of a wizard, rather than
the august and terrible complacency of the Prince
of Evil himself. This is, of course, partly owing to
M. Gounod's selection of his libretto, which, instead
of going to the poem direct, has been founded on
a spectacular drama played in Paris some years
since, and thence transferred to the Princess's
Theatre when under the management of Mr. Kean.
Thus the error is repeated of infusing the Fiend
with a tinge of comedy, instead of stamping him
with persistent earnestness—and allowing him to
withdraw from Faust the special victim of his
mission—to amuse himself with a crowd, and with
the antics of a conjuror. The more accurately
rendered characters are Faust, Margaret, and
Valentin, and in their treatment and that of their
associates, consists the true strength of the work.
This strength, however, we must remark, is con-
nected with consummate musical resources, and
an instrumentation that from first to last is rich
and fanciful in the extreme.

This opera has no overture, but is commenced by
an introduction, which in a Nery delightful passage
foreshadows the mournful struggle that awaits the
humble maiden ; and in its first act, which is
simply a scene, in which Faust is shown as an old
man, wearied with his vain philosophy, and calling
on the evil one to restore him to youth and pleasure
—a summons which is obeyed—there is nothing very
striking beyond the music that denotes the day-
break, and the chorus of rejoicing maidens,
who interrupt the thoughts of the philosopher.
It is in the opening of the second act
that the first great impression is made in a
series of • six choruses, sung by old men, girls, and
students, the air of the first being so quaint and
original that it elicited a loud encore. Mephis-
tophiles' song in praise of gold has an excellent
theme cleverly developed, and the grand chorale in
which the students endeavour to exorcise the evil
spirit was also very striking. The waltz that
follows and concludes the act—to the general
movement of the groupes engaged in the Kirmesse
Fate, and in the midst of which Marguret
makes her first appearance, and is accosted
by Faust on her way home—is full of
life and beauty, and sealed the fortunes of the night.
It led to a recall for all the singers, and a demand
for the composer. The third act is the finest of the
work. It is laid in the garden of Margaret, and
is first distinguished by an air of Faust's, that in
its plaintiveness and melody we have rarely heard
surpassed--by the song of Gretchen, "Es war
sin Konig," which is written with groat
expression—by the "Air des bijoux," which
has become so well known in our con-
cert rooms, and by a broken quartette which
forms the finale to the act, and which includes a
delicious love duet, that has a most charming
adagio passage at the words "Notts d'amor," and
terminates with Margaret's reverie at her cham-
ber window. Every portion of this music
was distinguished by its grace and tenaer-
ness, and the effect upon the audience was
marked in the extreme. The highest excitement
followed the descent of the curtain—all the singers
being called for, and the composer above all, who
at length made his appearance, and received a
most hearty demonstration.

Wo must hurry over the remaining acts, briefly
stating that they were distinguished by a singularly
vigorous and original soldiers' chorus in the fourth
act—by a most masterly treatment of the duel be-
tween Valentine and Faust—and by one of the finest
passages in the work, in the concluding trio of the
last act, in which Faust and Mephistophles endea-
vour to regain possession of Margaret, but are de-
feated by her good angels and ultimate repose in
death.

The execution of this work was almost as perfect
as it could be. If the queenly dignity of Madlle.
Titiens was scarcely adapted to the traits of the
simple and confiding maiden, she rose to every other
requisition of the character; and whether in her
remorse at the church steps, when bending to
heaven for forgiveness—in her agony beside her
dying brother—or in her struggle with her
lover in the closing scene to remain faithful to
the voice of heaven—she reached a height
of tragic excellence which belongs to her alone.
Signor Giuglini equally fortunate in all the
music of " Faust," which he sang with a depth of
tenderness that could not possibly be exceeded.
Mr. Santley was also most successful in his
impersonation of the soldier Valentine, and in his
death and malediction conveyed a stronger evidence
of his power than the public had yet witnessed.
M. Gassier was a very able and expressive Mephi-
stopheles—looked at from the composer's point of
view; and Madlie. Trebeili was a most agreeable
Siebel. Oa the merits of the band and chorus no
praise can be too great, and the skill and zeal of
Signor Arditi were obvious in every movement.
A last word must be given to the masterly pro-
duction of this opera, which has afforded Mr.
Mapleson an opportunity that he has re-
sponded to with a taste and liberablity
that are in the last degree commendable. No-
thing more faithful or more complete has
been ever seen on our lyric, stage and
nothing more calculated to restore this theatre to
the just dignity it should maintain. The scenery
and dresses were all as exact as they were beautiful,
and the various groupes that conveyed the
action were as picturesque as they were lively.
The house, we need not add, was crowded in every
portion, and the one impression at the fall of the
curtain was, that an admirable work had been most
perfectly presented.