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Inspiración
OPERÍSTICA
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F
ollowing up the issue of Mephistopheles
composers whose inspiration led to un-
paralleled works, another virtuoso that
shocked theworldwas Hector Berlioz; he
created amilestone with The Damnation
of Faust, his wonderful dramatic legend. Goethe was
once more the inspiration for Gerard de Nerval, who
produced excellent lyrics. The concept of symphonic
and vocals are used to express dramatic scenes with
abundant lyrical passages for the orchestra. Berlioz
gives us not only a spectacle but handles the lyric
outpouring brilliantly. The Damnationof Faust is not
normally produced as an opera, although an imagi-
native director can turn it into grand theatre. The
music turns Mephistopheles into a “bon vivant”, a
gentleman who ends up taking Faust home after an
Infernal Cavalcade where horrific images give Faust
an idea of what hemust expect.
In the final scene Marguerite is welcomed by
the Heavenly hosts. It is one of the most beauti-
ful choral scenes in all opera. Berlioz has never
been so clear concerning his intentions and the
orchestral handling is exquisite. The famous
Hungarian Rakoczy March, the Dance of the
Sylphs and the delicious Minuet are probably the
most famous pieces of the work. But the whole is
totally magical thanks to the genius of the com-
poser. Arrigo Boito in Italy also relies on Goethe
for his opera Mephistopheles. Besides giving us
the Faust and Marguerite episode he takes to the
legendary Greece accompanied by Faust. In this
work, Faust repents and begs God’s forgiveness.
Boito’s devil is more insolent and scary than the
one in Gounod’s work.
In the famous Prologue in Mephistopheles which
takes place in a space between heaven and earth Me-
phistopheles has a found a new victimandmocks the
Lord. The heavenly choirs silence him and he recoils
in terror before leaving. It’s and impressive, massive
scenewell admired.
The inspiration of great composers