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

FAUST.

Goethe's celebrated " Soul Poem," as it is so
reverently called in Germany, and which in its
scheme at lest has been acknowledged generally
as the most imaginative work of our age, has long
since exhausted every homage that could be paid
to it by art. Painting, sculpture, music, and the
drama have reflected it in turn, and made more
tamiliar every aspect of it which c_Aild exer-
cise the fancy or give a further stimulus to
he already excited sympathies. To this
end its twofold character abundantly con-
(laced. In completion of that series of analogies
which it is intended to present as the picture of the
course of a daring and erring human soul, this
poem is found to exhibit both its infinite and finite
aide—man in his religious and philosophic, and
man is his purely social and domestic aspect.
Suggested, on the one hand, by the book of Job,
where we see a mortal by divine permission sub-
jected to the special and probationary influence of
the Spirit of Evil—this poem presents, on the other,
a purely domestic story, in which we have a conflict
presented tons of the spiritual and animal tendencies,
and wherein this conflict is not on .y painted in
the 0080 M of the hero, but contrasted in two beings
—one of whom is lost through scepticism, and the
other saved by penitence. Here it is man that is
made the tempter, and woman who becomes the
victim—woman, typo of all emotion, who, as her
heart veers to earth or heaven, is degraded or re-
deemed ! It is this story of "Faust and Margaret"
that has really won for Goathe's poem its extensive
popularity. Much of his religion is very doubtful ;
much of his philosophy unintelligible—an enigma to
his profoundest students, and probably even to him-
self; but in his story of a pure and loving nature,
betrayed by the trust proper to its fervour, and by
a higher being whose wilful baseness degrades his
own nature more than hers—it has appealed to every
bosom, and not only excited sympathy, but conci-
liated tastes the most exacting and diversifie.d.
Passing over the evidence on this point in the
illustrations it has prompted in nearly every form
of art, it is interesting to observe how especially it
was thought adapted to the agencies of music.
Gosthe himself, anxious to give more emphasis to
its lyric and dramatic character, wished his poem
to be accompanied by music when it was
proposed to place it on the stage. Others fell
that it would be more successful if thrown entirely
into a lyrical form, snoh as Kreutzer and Lind-
painter, both of whom have illustrated its first part,
and Pierson, who has composed its second. The
illustrious Spohr W5B at length induced to produce
the poem as an opera—a task he executed with
great learning, but with little poetry or genius.
Madlle. Bertin followed in his wake with scarcely
more success in France, and at last, some five years
si
since, it received the first dramatic setting that at
all approached its merits in that produc-
tion of M. Gonnod, which filled Paris with such
a furore, and which. since transferred to
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formance of "Don Juan." Such a triumph most
people would consider quite decisive of its clain‘s,
and would be naturally tempted to ask how it is
that a work that for five years has been supplying
the highest excitement not only to our lively neigh.
bours but also to the calmer and more exacting
minds of profound musicians and true poets,
should never have been transferred to our own
country till now. This is a question, however, which
we know is more easily asked than answered,
and so content ourselves with announcing that the
first performance of the opera in England, at Her
Msjesty's Theatre, last night, set the seal to the
course of successes which has attended its produc-
.ion generally—being one of the most brilliant and
decided triumphs which has ever been witnessed in
country.

As it is impo3sible on a first hearing to detail the
merits of such a work, and especially under the dis-
advantages which attend a first performance, ws
shall defer to another occasion the minute attention
it demands, and content ourselves at present
with giving its character and general lea
tures. We would premise, then, by ob-
serving that its characteristics are its vivacity,
picturesqueness, and a profound and gracefu, ten-
derness, rather than any positive passion or marked
aamountmast of imagination. It grasps with the nand of
er all the outward life of the story—all the
emotion
which
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urface--btt it sel
parabiercfrly reaches to :he grond,,u,
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in the religious i
neu

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 very 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 in'terrupt 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 grouper engaged in the Kirmesse
Ftre, 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 tender-
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.

We must hurry over the remaining acts, britfly
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 w. s 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 Madlle. Trebeili was a most agreeable
Siebel. On 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 roust 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.