- The Oxford Handbook of Faust in Music
- Musical Examples
- Selected Settings from “Auerbachs Keller”
- Musical Remembering in Schubert’s Faust Settings
- Berlioz, Faust, and the Gothic
- Schumann’s Struggle with Goethe’s Faust
- Ideas of Redemption and the Total Artwork in Wagner’s Encounters with Faust
- Liszt’s Faust Complexes
- Gounodian Fausts by Pablo de Sarasate, Joan Baptista Pujol, and Felip Pedrell i Sabaté
- Mahler’s Eighth and the Faust Symphonic Tradition
- Hanns Eisler and Faust in the German Democratic Republic
- The Paradoxical Faust Cantatas of Adrian Leverkühn and Alfred Schnittke
- Louis Spohr’s Tragic Faust
- The Genesis, Transformations, Sources, and Style of Gounod’s Faust
- Mefistofele Triumphant—From the Ideal to the Real
- Extending the Reach of Ferruccio Busoni’s Doktor Faust
- The Faustian and Mephistophelean Worlds in Stravinsky’s The Rake’s Progress
- Havergal Brian’s Gothic Opera Faust
- The Serial Concept in Pousseur’s Votre Faust
- Reflections of the Contemporary Schizophrenia in Josef Berg’s Two Versions of Johanes doktor Faust
- History and Faust in Doctor Atomic
- Pascal Dusapin’s New Lyrical Style in Faustus, the Last Night
- Faust Goes Dancing
- Heinrich Heine’s Faust Ballet Scenario, 1846–1948
- The American Musical and the Faustian Bargain
- Faust Rocks the Stage (Not)
- Helen Gifford’s Marlovian Regarding Faustus
Abstract and Keywords
The libretto of John Adams’s Doctor Atomic (2005), by Peter Sellars, was “drawn from original sources”—one of a number of factors that endowed the opera with an aura of historical truthfulness. Yet from its inception, the composer also acknowledged a relationship between the opera and Faust mythology, even as he downplayed its impact on the work. In fact, analysis of the libretto and the musical setting reveals that they contain numerous references to earlier Faustian works, musical and literary. These references take the form of direct verbal quotation, the adaptation of musical material, and the incorporation of Faustian themes. The opera’s engagement with Faustian works by Baudelaire, Thomas Mann, Goethe, Stravinsky, and Liszt conflicts with attributions of historical authenticity that appeared at the time of its premiere.
Rebecca Cypess is Assistant Professor of Music at the Mason Gross School of the Arts at Rutgers University. She is the author of Curious and Modern Inventions: Instrumental Music as Discovery in Galileo’s Italy (Chicago, 2016).
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