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Faust (Jaewoo Kim) realises the consequences of his actions, 2006 New Zealand Opera production. Méphistophélès and Faust are surrounded by witches ("Un, deux et trois"). Faust is transported to a cave of queens and courtesans, and Méphistophélès promises to provide Faust with the love of the greatest and most beautiful women in history ...
La damnation de Faust (English: The Damnation of Faust), Op. 24 is a French musical composition for four solo voices, full seven-part chorus, large children's chorus and orchestra [1] by the French composer Hector Berlioz. He called it a "légende dramatique" (dramatic legend). [2]
After the overture, the music depicts Faust's wooing of Gretchen. For Gretchen's story, Schumann employs operatic music, beginning with a love duet, proceeding to Gretchen's passionate and desperate aria, and concluding with a church scene. [4]
" Gretchen am Spinnrade" (Gretchen at the Spinning Wheel), Op. 2, D 118, is a Lied composed by Franz Schubert using the text from Part One, scene 15 of Johann Wolfgang von Goethe's Faust. With "Gretchen am Spinnrade" and some 600 other songs for voice and piano, Schubert contributed transformatively to the genre of Lied.
The libretto was by Barbier and Carré, from Carré's play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe's Faust, Part One. Philémon et Baucis (Opera in three acts, first performed at the Théâtre Lyrique on 18 February 1860.
Goethe finished writing Faust, Part Two in 1831; it was published posthumously the following year. In contrast to Faust, Part One, the focus here is no longer on the soul of Faust, which has been sold to the devil, but rather on social phenomena such as psychology, history and politics, in addition to mystical and philosophical topics. The ...
Je ris de me voir", from Charles Gounod's opera Faust "Air de bijoux" Alternative name for Facing the Music (1933 film) , 1933 British musical comedy film Topics referred to by the same term
Faust, and this aria in particular, was among the most famous of all operas in Hergé's time. Furthermore, the choice of this aria is intentionally comic: Hergé depicts the aging, glamorous and utterly self-absorbed opera diva as Marguerite, the picture of innocence, taking delight in her own image in the mirror, with the oft-repeated quote ...