- The Oxford Handbook of Faust in Music
- Musical Examples
- Selected Settings from “Auerbachs Keller”
- Musical Remembering in Schubert’s <i>Faust</i> Settings
- Berlioz, <i>Faust</i>, and the Gothic
- Schumann’s Struggle with Goethe’s <i>Faust</i>
- Ideas of Redemption and the Total Artwork in Wagner’s Encounters with <i>Faust</i>
- Liszt’s Faust Complexes
- Gounodian <i>Faust</i>s by Pablo de Sarasate, Joan Baptista Pujol, and Felip Pedrell i Sabaté
- Mahler’s Eighth and the Faust Symphonic Tradition
- Hanns Eisler and <i>Faust</i> in the German Democratic Republic
- The Paradoxical Faust Cantatas of Adrian Leverkühn and Alfred Schnittke
- Louis Spohr’s Tragic <i>Faust</i>
- The Genesis, Transformations, Sources, and Style of Gounod’s <i>Faust</i>
- <i>Mefistofele</i> Triumphant—From the Ideal to the Real
- Extending the Reach of Ferruccio Busoni’s <i>Doktor Faust</i>
- The Faustian and Mephistophelean Worlds in Stravinsky’s <i>The Rake’s Progress</i>
- Havergal Brian’s Gothic Opera <i>Faust</i>
- The Serial Concept in Pousseur’s <i>Votre Faust</i>
- Reflections of the Contemporary Schizophrenia in Josef Berg’s Two Versions of <i>Johanes doktor Faust</i>
- History and Faust in <i>Doctor Atomic</i>
- Pascal Dusapin’s New Lyrical Style in <i>Faustus, the Last Night</i>
- Faust Goes Dancing
- Heinrich Heine’s <i>Faust</i> Ballet Scenario, 1846–1948
- The American Musical and the Faustian Bargain
- Faust Rocks the Stage (Not)
- Helen Gifford’s Marlovian <i>Regarding Faustus</i>
Abstract and Keywords
Arrigo Boito sought to escape the limiting conventions of contemporary melodrama in order to revolutionize Italian opera. However, the most radical expression of that effort, his adaptation of Goethe’s Faust, Mefistofele (Mephistopheles), which premiered at La Scala in 1868, did not attain the desired result. In reworking the score, the composer took practical concerns into account, making the opera more pleasing to the mainstream audiences who demanded melodious vocal lines and a tighter dramatic pace. The revised version staged in Bologna in 1875 and the subsequent revivals marked an important turning point: what had been an avant-garde work now entered into the repertoire of all the major theaters. This chapter retraces Boito’s journey from the setback of the premiere to the success for which he strove so diligently, highlighting the creative process that forged a new relationship between poetry and music, which Giuseppe Verdi later exploited in his collaboration with the poet.
Michele Girardi is Associate Professor of Music at the University of Venice, Ca’ Foscari. He is the co-editor of Messa per Rossini: la storia, il testo, la musica (Ricordi, 1988), author of Puccini: His International Art (Chicago, 2000), editor of La Fenice prima dell'opera (2002–2015), co-author of La Fenice, 1792–1996: Theatre, Music and History (Marsilio, 2003), author of Pavarotti: La bohème (FMR, 2008), and editor of Madame Butterfly, mise en scène (EDT, 2012).
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