Artist

Admin

Mozarteum Salzburg

Internationaler Mozartwettbewerb Salzburg

Singer

Tenor

Daehwan Kim

Faust

Bass

Max Tavella

Mephistopheles

Alexander Voronov

Soprano

Margarita Polonskaya

Marguerite

Veronika Loy

Baritone

Taesung Kim

Valentine

Xiaofei Liu

Mezzo-soprano

Lyriel Benameur

Siebel

Tamara Nüßl

Wagner

Martha Schwertlein

Olaia Lamata

Conductor

Gernot Sahler

Chorus master

Niuniu Miao Liu

Stage director

Alexander von Pfeil

Set designer

Sophie Thammer

Costume designer

Felicitas Stecher

Others

Chor der Universität Mozarteum

Orchestra

Mozarteumorchester Salzburg

Chan Young Kim

Cristina Pardo Ramírez

Salzburg

Austria

Universität Mozarteum

Faust Gounod

Public

Approved

Gounod Faust

Opera Gounod Faust Introduction

IT'S VERY IMPOSSIBLE ...

Goethe expressed himself rather skeptically to Eckermann regarding an adaptation of his Faust poem for an opera:
“It is quite impossible. The repulsive, repulsive, terrible things that it ought to contain in places are contrary to time. The music should be in the character of "Don Juan". Mozart should have composed “Faust”. Meyerbeer might be able to do that .. "

Goethe also speculated that his gloomy work in the French language, set in a “diverse but fearful setting”, would look “much clearer and more deliberate”.
However, it was not the established master of the French grand opéra - Giacomo Meyerbeer - but the 40-year-old, still rather unknown (church) composer Charles Gounod who was given the opportunity to make Goethe's magnum opus significantly accessible to music theater. The model for the opera, which premiered at the Théatre-Lyrique in Paris in 1859, was Michel Carré's boulevard play “Faust et Marguerite”, a radical compression of the Gretchen tragedy, the central motif of the young Goethe: This early Faust version of Sturm und Drang -Dichters was created under the immediate impression of the execution of the Frankfurt child murderer Susanna Margaretha Brandt (in January 1772).

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