Organization

Singer

Bass

Peter Martinčič

Mephistopheles

Soprano

Martina Zadro

Marguerite

Baritone

Rok Bavčar

Valentine

Mezzo-soprano

Nuška Drašček Rojko

Siebel

Mirjam Kalin

Martha Schwertlein

Robert Brezovar

Wagner

Set designer

Paul Gallis

Costume designer

Yan Tax

Lighting designer

Marc Heinz

Choreographer

Lukas Zuschlag

Chorus master

Zeljka Ulčnik Remic

Assistant Stage Director

Simona Pinter

Assistant choreographer

Monica Maja Dedović

Conductor

Ayrton Desimpelaere

Stage director

Frank Van Laecke

Tenor

Martin Sušnik

Faust

Natalija Amina Bašić

Prostituke

Polona Kante Pavlin

Darja Novak

Christina Thaler

Sandra Vidovič Mlakar

Višnja Fičor

Inez Osina Rues

Ida Plevnik

Ana Plemenitaš

Antee Poljak

David Čadež

Vojnici

Rusmir Redžič

Edvard Strah

Damjan Kozole

Marko Erzar

Marko Ferjancic

Anton Habjan

Rok Krek

Matej Prevc

Silvo Škvarč

Gregor Zorko

HNK Zagreb

Others

Choir HNK Zagreb

Orchestra

Orkestar Opere Hrvatskoga Narodnog Kazalista u Zagrebu

Γαλλικά

Varaždin

Croatia

Opera Zagreb Festival

Croatian National Theatre

Faust Gounod

Public

Private

Κροατικά

Αγγλικά

Approved

Metamorphosis of love

Gounod's Faust is considered one of the most picturesque romantic opera works. Mephistopheles' gift of youth, which is at the same time the curse of Faust's soul, is redeemed by the power of love for Margarita, a simple but also the most powerful life force. The archetypal story of the battle between good and evil, which ends with the apotheosis of love, still disturbs everyone today, having a cathartic effect on the human spirit.                     

The legend of Doctor Faustus, a healer, astrologer and alchemist of dubious reputation who sold his soul to the Devil in order to obtain (albeit for a short time) all the treasures, strength and pleasures of the world, acquired mythical proportions already after the first record at the end of the sixteenth century. The motif of Faust's search for the ultimate truth and his renunciation of conventional beliefs has been the subject of many adaptations and interpretations over several centuries.                               

This atypical literary motif intrigued writers, poets and dramatists (Marlowe, Lessing, Goethe, Klinger, Grabbe, Mann) as well as composers (Ignaz Walter, Gaspare Spontini, Ludwig Spohr, Hector Berlioz, Arrigo Boito) along with the French romantic composer Charles-Françoise Gounod, who used the first part of Goethe's epic Faust for his opera.                                                    

Librettists Jules Barbier and Michel Carré did not attempt to capture the philosophical dimension of the work. They settled on the central theme of love between Faust and the simple girl Margarita and managed to create impressive scenes in which drama alternates with lyrical parts. Composer Gounod made great use of all the possibilities of the libretto, creating an opera that still captivates today with its freshness and emotion. Gounod's Faust was premiered in Paris in 1859, and over the next ten years it conquered the most important European opera houses.

English

Metamorfoza ljubavi

Gounodov Faust smatra se jednom od najslikovitijih romantičkih opernih djela. Mefistofelesov dar mladosti, koji je istodobno i prokletstvo Faustove duše, otkupljen je snagom ljubavi prema Margariti, jednostavnom, ali i najsnažnijom životnom silom. Arhetipska priča o borbi dobra i zla koja završava apoteozom ljubavi i danas uznemiruje svakoga, djelujući katarzično na ljudski duh.                     

Legenda o doktoru Faustu, iscjelitelju, astrologu i alkemičaru sumnjive reputacije koji je prodao dušu Vragu kako bi (iako za kratko vrijeme) dobio sva blaga, snagu i zadovoljstva svijeta, zadobila je mitske proporcije već nakon prvoga zapisa krajem šesnaestog stoljeća. Motiv Faustove potrage za posljednjom istinom i njegovo odricanje od konvencionalnih vjerovanja postao je tema mnogih adaptacija i interpretacija tijekom nekoliko stoljeća.                               

Ovaj netipičan književni motiv zaintrigirao je pisce, pjesnike i dramatičare (Marlowe, Lessing, Goethe, Klinger, Grabbe, Mann) kao i skladatelje (Ignaz Walter, Gaspare Spontini, Ludwig Spohr, Hector Berlioz, Arrigo Boito) uz francuskog romantičarskog skladatelja Charlesa- Françoisea Gounoda, koji je za svoju operu iskoristio prvi dio Goetheova epa Faust.                                                    

Libretisti Jules Barbier i Michel Carré nisu pokušali obuhvatiti filozofsku dimenziju djela. Zadovoljili su se središnjom temom ljubavi zameđu Fausta i jednostavne djevojke Margarite te su uspjeli dočarati dojmljive scene u kojima se izmjenjuje dramatika s lirskim dijelovima. Skladatelj Gounod sjajno je iskoristio sve mogućnosti libreta, stvorivši operu koja i danas osvaja svojom svježinom i emotivnošću. Gounodov Faust bio je praizveden  u Parizu 1859. te je tijekom idućih deset godina osvojio najvažnija europska operna kazališta.

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