Important Info

Festival: Stars of the White Nights Festival

Type: Opera

City: Saint Petersburg, Russia

Starts at: 19:00

Acts: 5

Intervals: 1

Duration: 3h 20min

Sung in: French

Titles in: English,Russian

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Orchestra: Mariinsky Orchestra

Chorus: Mariinsky Chorus

Creators

Composer: Charles Gounod

Choreographer: Dmitry Pimonov

Music Director: Valery Gergiev

Principal Chorus Master: Andrei Petrenko

Movement director: Dan O’Neill

Video designer: Ian William Galloway

Director: Isabella Bywater

Sets: Isabella Bywater

Costume designer: Isabella Bywater

Lighting Designer: Jennifer Schreiver

Author: Johann Wolfgang von Goethe

Librettist: Jules Barbier

French language Coach: Ksenia Klimenko

Librettist: Michel Carré

Musical Preparation: Natalia Mordashova

Costume designer: Nicky Shaw

Video designer: Nina Dunn

Video designer: Salvador Avila

Festival

Stars of the White Nights Festival

"Stars of the White Nights": bright events of the big summer festival in the Mariinsky.

Overview

“How do you feel about religion?” the naïve Gretchen asks of Faust the scientist in Goethe’s tragedy. the librettists Jules Barbier and Michel Carré did not include this famous question in their own text for the opera, although for the composer the problems of religious themes was one of the most important issues. Charles Gounod was not just a rank and file parishioner – for several years he worked as a church musician and even contemplated becoming a priest. the astounding organ music and chorales in the opera Faust were written by the former church organist and precentor, for whom God and the Devil were by no means abstract beings. In staging Faust at the Mariinsky Theatre, British designer and stage director Isabella Bywater recalled her own experiences of religion, and it was interesting for her to observe “a religious man who does something that he knows is wrong in the eyes of his God.” As a representative of the liberal 21^st century, Bywater does not regard the horned and tailed one as a separate entity: for her, Méphistophélès, like the devil from the snuffbox, “is born” straight out of Faust’s bed and forms an indivisible tandem together with him. It is not “the father of a lie”, but rather man who creates evil, and he must answer for this. Monsters swarm in the dark depths of the human soul (on the stage this is represented by silent figures of obliging demons), and each and everyone must restrain them him or herself.

The tragic story of the love between Faust and Marguerite in the Mariinsky Theatre’s production has been moved to the outset of the 20^th century, though the director makes us understand: it is a story that repeats itself over and over. the protagonists wander among tombstones on which they may read their own names and dates from different centuries. Within the context of modern-day morality, when the old concepts of honour and dishonour or guilt and innocence have been reassessed, Bywater shows Faust’s sinfulness, comparing him to Nabokov’s Humbert and Marguerite to Lolita. the opera’s heroine is fourteen years of age, and her seducer is an old man who has re-acquired only his physical youthfulness. For Faust, the object of his affections is also initially simply the “nymphet” Gretchen, one of numerous schoolgirls with a satchel, a flower that there is an irresistible urge to pluck. Once plucked, this is a flower that turns out to be of no use to any man: neither to her lover nor to her brother. To depict this idea more clearly, Bywater has made Siébel, the only male character who is sympathetic to Marguerite, into a young woman.

The starkly bleak Gothic qualities of the stage designs do not stop Faust being a romantic production – thanks to Gounod. the simpler the gestures on the stage the more expressive the sound of the orchestra, which conveys the whole gamut of the characters’ emotions: from tenderness to frenzy, and from despair to ecstasy. the opera is crammed full of magnificent melodies, many of which have become established favourites in concert programmes: Méphistophélès’ couplets about the golden calf, Marguerite’s ballad about the King in Thule, Faust’s aria “Salute! demeure chaste et pure", the march of the soldiers, the waltz… the tragic death of Marguerite in the finale is experienced not as the triumph of death but rather as the triumph of love. Marguerite is saved because she has loved and ascends to God as to love. of this it is the music that speaks most convincingly of all.

Khristina Batyushina

History

Premiere of this production: 19 March 1859, Théâtre Lyrique , Paris

Faust is an opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré from Carré's play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe's Faust, Part One. It debuted at the Théâtre Lyrique on the Boulevard du Temple in Paris on 19 March 1859, with influential sets designed by Charles-Antoine Cambon and Joseph Thierry, Jean Émile Daran, Édouard Desplechin, and Philippe Chaperon.

Synopsis

Act 1
Faust, an aging professor, despairs that his life has been wasted, since his studies, and religious faith have not given him the answers he was looking for (Rien! En vain j'interroge). He prepares to kill himself with poison but hesitates in doubt. He curses science and faith, and asks for infernal guidance. Méphistophélès appears (duet: Me voice) and, with a tempting image of young Marguerite at her looking glass, he persuades Faust to buy Méphistophélès's services on earth in exchange for Faust's in Hell. Faust's glass of poison becomes an elixir of youth, making the middle-aged doctor feel young; the strange companions then set out into the world.

Act 2
A chorus of academics, soldiers and students sing a drinking song (Vin ou Bière). Valentin, Marguerite’s brother, is soon leaving for war and he entrusts the care of his sister to her friend Siébel (O sainte médaille ... Avant de quitter ces lieux). Méphistophélès appears and sings a rousing, irreverent song about the Golden Calf (Le veau d'or) and after, provides the uneasy crowdwine. Méphistophélès maligns Marguerite, and Valentin tries to strike him with his sword, which shatters in the air. Valentin uses the cross-shaped hilt of his sword to fend off what they now fear is an infernal power (chorus: De l'enfer). Méphistophélès is joined by Faust and the young girls in a waltz (Ainsi que la brise légère). Marguerite appears briefly and Faust attempts to charm her, but she refuses his offer to walk her home out of modesty.

Act 3
Siébel leaves a bouquet for Marguerite (Faites-lui mes aveux). Méphistophélès insists in searching for a more tempting gift for Marguerite and Faust sings a cavatina (Salut, demeure chaste et pure) idealizing Marguerite as a pure child of nature. Méphistophélès returns with a beautiful box containing exquisite jewelry and Faust leaves it on Marguerite's doorstep, near Siébel's flowers. Marguerite enters, pondering her encounter with Faust, and sings a melancholy ballad about the King of Thulé (Il était un roi de Thulé). Marthe, Marguerite's neighbour, notices the jewelry and says it must be from an admirer. Marguerite tries on the jewels and is captivated by how they enhance her beauty, as she sings in the famous aria, the Jewel Song (Ah! je ris de me voir si belle en ce miroir). Méphistophélès and Faust join the women, Mephistopheles distracts Marthe and leaves Faust to seduce Marguerite. Marguerite eventually allows Faust to kiss her (Laisse-moi, laisse-moi contempler ton visage), but then in panic demands he goes away. She sings at her window of her interest in him, and Faust, listening, returns. Under the watchful eye and malevolent laughter of Méphistophélès, it is clear that Faust's seduction of young Marguerite is achieved.

Act 4
After being impregnated and abandoned by Faust, Marguerite is a social outcast. She is alone in her room (Il ne revient pas). Siébel visits and stands by her. Marguerite goes to the church and tries to pray there but is frightened, first by Méphistophélès and then by a choir of demons. She finishes her prayer but faints when she is cursed again by Méphistophélès. The scene shifts to the return of the soldiers - Valentin's company returns from the war to a military march (Deposons les armes and Gloire immortelle de nos aïeux). Siébel tries to keep Valentin from Marguerite as she is afraid he will punish her, but after looking for her in the church he returns to Marguerites room and breaks in. While he is inside Faust and Méphistophélès appear, and Méphistophélès sings her a mocking burlesque of a lover's serenade (Vous qui faites l'endormie). Valentin emerges from her room, furious at what has happened to Marguerite and suspecting that it is Faust who has debauched his sister. The men fight, Méphistophélès blocking Valentin's sword, allowing Faust to make the fatal thrust. With his dying breath Valentin blames Marguerite for his death and condemns her to Hell (Ecoute-moi bien Marguerite).

Act 5
Méphistophélès and Faust return to visit Marguerite. Outside is Siebel, asleep, guarding her friend. Faust retrieves the key from the sleeping figure and enters Marguerite’s room. He sees she is in a terrible state, bleeding and pale, and may die. He and Marguerite sing a love duet (Oui, c'est toi que j'aime). Méphistophélès states that only Faust can deliver Marguerite from her fate, and he tries to help her, but she prefers to trust her fate to God and His angels (Anges purs, anges radieux). At the end she asks why Faust's hands are covered in her blood, pushes him away, and collapses. Méphistophélès curses, as a voice on high sings "Sauvée!" ("Saved!"). The bells of Easter sound and a chorus of angels sings "Christ est ressuscité!" ('"Christ is risen!"). And Marguerite's soul rises to heaven. In despair Faust follows it with his eyes; he falls to his knees and prays.

Isabella Bywater

Place: Germany
Time: 16th century

Act 1

Faust's cabinet

Faust, an aging scholar, determines that his studies have come to nothing and have only caused him to miss out on life and love (Rien! En vain j'interroge). He attempts to kill himself (twice) with poison but stops each time when he hears a choir. He curses hope and faith, and asks for infernal guidance. Méphistophélès appears (duet: Me voici) and, with a tempting image of Marguerite at her spinning wheel, persuades Faust to buy Méphistophélès's services on earth in exchange for Faust's in Hell. Faust's goblet of poison is magically transformed into an elixir of youth, making the aged doctor a handsome young gentleman; the strange companions then set out into the world.

Act 2

At the city gates

A chorus of students, soldiers and villagers sings a drinking song (Vin ou Bière). Valentin, leaving for war with his friend Wagner, entrusts the care of his sister Marguerite to his youthful friend Siébel (O sainte médaille ... Avant de quitter ces lieux). Méphistophélès appears, provides the crowd with wine, and sings a rousing, irreverent song about the Golden Calf (Le veau d'or). Méphistophélès maligns Marguerite, and Valentin tries to strike him with his sword, which shatters in the air. Valentin and friends use the cross-shaped hilts of their swords to fend off what they now know is an infernal power (chorus: De l'enfer). Méphistophélès is joined by Faust and the villagers in a waltz (Ainsi que la brise légère). Marguerite appears and Faust declares his admiration, but she refuses Faust's arm out of modesty, a quality that makes him love her even more.

Act 3

Marguerite's garden

The lovesick boy Siébel leaves a bouquet for Marguerite (Faites-lui mes aveux). Faust sends Méphistophélès in search of a gift for Marguerite and sings a cavatina (Salut, demeure chaste et pure) idealizing Marguerite as a pure child of nature. Méphistophélès brings in a decorated box containing exquisite jewelry and a hand mirror and leaves it on Marguerite's doorstep, next to Siébel's flowers. Marguerite enters, pondering her encounter with Faust at the city gates, and sings a melancholy ballad about the King of Thule (Il était un roi de Thulé). Marthe, Marguerite's neighbour, notices the jewellery and says it must be from an admirer. Marguerite tries on the jewels and is captivated by how they enhance her beauty, as she sings in the famous aria, the Jewel Song (Ah! je ris de me voir si belle en ce miroir). Méphistophélès and Faust join the women in the garden and romance them. Marguerite allows Faust to kiss her (Laisse-moi, laisse-moi contempler ton visage), but then asks him to go away. She sings at her window for his quick return, and Faust, listening, returns to her. Under the watchful eye and malevolent laughter of Méphistophélès, it is clear that Faust's seduction of Marguerite will be successful.

Act 4

Marguerite's room / A public square outside her house / A cathedral

[Note: The scenes of acts 4 and 5 are sometimes given in a different order and portions are sometimes shortened or cut in performance.]

After being made pregnant and seemingly abandoned by Faust, Marguerite has given birth and is a social outcast. She sings an aria at her spinning wheel (Il ne revient pas). Siébel stands by her. The scene shifts to the square outside Marguerite's house. Valentin's company returns from the war to a military march (Deposons les armes and Gloire immortelle de nos aïeux, the well-known "soldiers' chorus"). Siébel asks Valentin to forgive Marguerite. Valentin rushes to her cottage. While he is inside Faust and Méphistophélès appear, and Méphistophélès, knowing that Marguerite is not in there alone, sings a mocking burlesque of a lover's serenade under Marguerite's window (Vous qui faites l'endormie). Valentin takes the bait and comes out of the cottage, now knowing that Faust has debauched his sister. The two men fight, but Faust is reluctant to hurt the brother of the woman he adores. Méphistophélès blocks Valentin's sword, allowing Faust to make the fatal thrust. With his dying breath Valentin blames Marguerite for his death and condemns her to Hell before the assembled townspeople (Ecoute-moi bien Marguerite). Marguerite goes to the church and tries to pray there but is stopped, first by the sadistic Méphistophélès and then by a choir of devils. She finishes her prayer but faints when she is cursed again by Méphistophélès.

Act 5

The Harz mountains on Walpurgis Night / A cavern / The interior of a prison

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. An orgiastic ballet suggests the revelry that continues throughout the night. As dawn approaches, Faust sees a vision of Marguerite and calls for her. Méphistophélès helps Faust enter the prison where Marguerite is being held for killing her child. They sing a love duet (Oui, c'est toi que j'aime). Méphistophélès states that only a mortal hand can deliver Marguerite from her fate, and Faust offers to rescue her from the hangman, but she prefers to trust her fate to God and His angels (Anges purs, anges radieux). At the end she asks why Faust's hands are covered in blood, pushes him away, and falls down motionless. Méphistophélès curses, as a voice on high sings "Sauvée!" ("Saved!"). The bells of Easter sound and a chorus of angels sings "Christ est ressuscité!" ('"Christ is risen!"). The walls of the prison open, and Marguerite's soul rises to heaven. In despair Faust follows it with his eyes; he falls to his knees and prays. Méphistophélès is turned away by the shining sword of the archangel.

Venue Info

Mariinsky Theatre - Saint Petersburg
1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.

Faust

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Stars of the White Nights Festival

Mariinsky Theatre - Saint Petersburg 1 Theatre Square

Mariinsky Theatre - Saint Petersburg
1 Theatre Square