New-York tribune., 1909-09-05


opera book of MN. Carre and BARRIER is. as have
said, wholly tine invention of Goethe. There is the
shadowy form OF maiden in some of the versions
Of the legend. but not hint of the romantic senti-
nent powerfully and pathetically set forth by
the poet did the passion either for good or evil
play a part in the agreement between Faust and
the devil ThfH agreement covered five points only;
Faust pledged himself to deny God. hate the hu-
race despsse the clergy, never to set foot in
church and never get married. So far from being
love episode IN the story. when Faustus In the
old book by Spess. once expressed a wish to aoro-
gate the last condition Mephistopheles refused him
permission on the ground that marriage Is some
thing pleasing to God, and for that reason In con-
travention Of the contract. Hast thou, quoth
Mephstopheles. Sworn thyself enemy TO God
and to all creatures? To this 1 answer thee. thou
canst not marry: thou canst two mas
ters, God and thy prince. For wedlock Is c1et
institution ordained of God. and that thou hast
promised to defy do all, and that thou mast
not only done l1lt Moreover thou hast confirmed
with thy blood. Persuade thyself that what thou
hast done in contempt wedlock, il is all TO thine
own delight Therefore, Faustus, look we'll about
thee and bethink thysef better. and wish thee to
change thy mind for if thou keep not what thou
hast promised in thy writing we will tear thee IN
pieces like the dust under thy feet Therefore
sweet Faustus. think with what unquiet life. anger
strife and debate thou shalt live in when thou
takest a wife Therefore, change thy mind
Faustus aba ndons his purpose for the time being
but within two hours summons MS spirit a6diii
and demand. his consent to marriage whereupoh
I'D there comes whirwind which fills the house
with fire and smoke and hurls Faustus about until
he is unable 10 stir hand foot. Also there ap-
pears an ugly devil dreadful and monstrous TO
behold that Faustus dares not look upon him.
This devil is in a mood FOR jesting. How hkest
thou thy wedding?" he asks of Faustus. who prom
ises not to mention marriage more, and Is wen
content when Mephstopheies promises to bring
him any woman, dead alive, whom he may de-
sire TO possess 1t is in obedience to this promise
that Helen Of Troy IS brought back from the world
of shades TO be Faustus's paramour. By her ne
has a son. whom he calls Justus Faustus, nut IN
the snd when Faustus loses his life. mother ana
child vanish. Goethe uses the scene OF the amour
between Faust and the ancient beauty in the Sec
ona mart of his poem as does Boito III his "Meils-
+o>ele" charging il with the beautiful symbolism
which was In the German poets mind. Ia tAe
Polish tale Of Pan Twardowsky, built on the hhes
Of the old legend, there is more amusing hihg at
marriage. In return for the help which he Is 10
receive. the Polish wizard has the privilege OF de-
roandinx three duties of the devil. After enjoying
10 tho full the benefits conferred by two ne com
rusnds the devil to marry Nine Iwardo"shE' A4ii7
q more than the devil had bargained Tor or IS
willing TO perform. He refuses; the contract Is
,oL.n ons Twardowskv is saved The story may
have inspired Thackeray's amusing ta.e In inc
Paris Sketch Book" entitled The Painters bar
gain"
For The facts in the story OF the composition and
production of GounOGS opera We iiIE~ tAAS
of the composer IN his autobiography. III 1o"' LAG
,,ada the acouaintance OF Jules Barber and Mlchel
Carre and asked them To collaborate win MN III
an opera They asserting. he proposeo "oe'''o
Faust" as a subject and II met WIN the!r APP
nroval Together they went 10 see NJ. CarValho'
who was then director of the Theatre Lyflque ne
too liked the idea of the opera, and the IorettsI
went TO work The composer had written nea't'
half of the score. when NJ. CarVaIho prousiIt 'i'e
dtsconcerting Intelligence that a grand neisdraina
treating the subject in preparation al tie Inc
atre de la Porte Martin. Carvalho said that
Il ,ola be impossible to get the opera ready before
the appearance OF the melodrama' ana uh"lSe ~
enter into competition with a theatre the luxury Oh
whose stage mounting would have attracted All
Paris before the opera could be produced. carvalho
therefore advised a change OF subject WHICH WIS
such 4 blow to Gounod that he was Incapable or
applying himself to work for Week. fllaliY
Carvaiho to the rescue WIN request iof
1,i, co,,.a, based on one OF Moere's plays
Gounod chose lie medecin malgre lul' ana the
opera had production at the Theatre Lyrlque on
,be anntyersary Of Moliere's birth, January To-
1853 The melodrama at the Porte SAINT ldtuh
turned ont be failure in spite OF lts peauuIui
pictures ana Carvalho recurred TO the opera "lici
had been laid. aside. and Gounod had it ready by
JuIv He read the director in the green room
of the theatre in that month. and Nine Carvaiho
wife of the director, who was present was so oeepy
.mpressed with the role Of Marguerite that NJ car
valho asked the composers permission 10 assign 1t
@
land the future proved the choice 10 be Veritaoie
inspiration
Rehearsas began in September 1e5S' and soon
developed difficulties. Gounod had set his heart
upon a handsome young tenor named Guardi 1or
titular role but he found TO be unequal to It's
demands This caused such embarrassment that
II IS said, Gounod who had pretty voice ana was
rather fond Of showing it, seriously pondered the
! feasibility OF singing it himself. He does not tell
us this in his autobiography. but neither does ne
had rhn
mar. of Marguerite and that he yielded to NJ Car
xaIho in giving it to the directors wife because
Nine Ugalde had quarrelled with him. as prima
donnas WILL about Masses opera, La Fee Cara
bosse" which preceded Faust at the Lyrique-
The difficulty about tenor role was overcome by
the enlistment of M Barbot an artist who had
been a companion of Carvalhos when he sang small
parts at the Opera Comique. He was now far past
his prime and a pensioned teacher at the Conserva-
totre. but Gounod bears witness that he Showed
himself a great musician In the part of Faust"
OF Beianque who created the part OF Mephistoph-
eles Gounod says that "he an intelligent
comedian whose play. physique and voice lent them
selves wonderfully to this fantastic and Satanic per-
sonage." AS Nine. Carvalho IT was the opinion
OF the composer that though her mastery qualities
OF execution and style had already placed her In
the front rank of contemporary singers role, till
Marguerite fell to her lot had afforded her oppor-
tunity to show in such 'the superior phases
of her talent sure. refined steady, so tran
QUILTS lyric and pathetic qualities"
1t distinguished audience that listened to
the first performance of Faust" March l9,
1859 Auber, Beroz Reyer, Jules Janin, Perrin
Emile Olivier and many other men who had made
their mark in literature. art politics In the
boxes, and full many more of equal distinction
I'm the stalls. Among these latter were Delacroix
Vernet, Eugene Giraud Pasdeloup.f Scudo Heuge
and Jules Levy. The criticism of the journals
which followed was. usual, blending OF censure
and praise. Berl,oz favorably inclined toward
tho vpifb al ypip III