The voice of the Chorus, in whatever form the composer has chosen, is the otherworldly voice, the sweet song of redemption. The Infernal, likewise, has its conventions. From the cacophony of Boito' s whistling Mephisto to the whirlwind demonic chorus of Berlioz, celebrating the triumph of Mephisto over Faust, evil is presented in all of its disguises, harsh and sometimes seductive. In the end, the serenity and beauty of the Chorus Mysticus renders evil weak and dull, exposing it as a fraud. The inclusion of this evil creates a strong contrast for the Chorus Mysticus, amplifying the beauty of salvation and its deep serenity.
Opera can bridge the space between music and literature.
Goethe, in his many pages, creates a mischievous Mephisto. But with Boito's Mefistofele, instantly we are aware of the nature of Mephisto, his playful and ominous theme, combined with his shape-shifting form, is a window into his character that music or literature alone fails to fully develop. The combination provides an immediate characterization. Hearing Mephisto bandy words with the besieged Faust, all the while supported by his devilish theme and absurd whistling, Mephisto is given a vibrant characterization, both a concrete form and a musical identity. Opera tells the story on two different levels, or tells two different stories simultaneously.