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Deep philosophical concept of "Faust" by Goethe, who sought to uncover the historical and social fate of all mankind an example of the conflict the main characters, in Gounod's incarnation was as humane and lyrical drama Margaret Faust.
In the drama of the opera used the best traditions of French opera: Detailed scenes that combine solo episodes, recitatives, ensembles, choirs, ballet, instrumental episodes combined with some finished rooms (Aria, Cavatina, aria, duet songs, and tercet). This combination leads to a very organic unity of the theatrical and musical development. In the opera, is widely used in intonational system links a series of scenes, it basically refers to the Faust and Marguerite, that is, to the lyrical lines of the opera. This system does not play the same role, self-sufficient, as in the operas of Wagner, but is an important component in the creation of dramatic unity of the opera.
By limiting the scope of leyttem two characters, Gounod deepened their role in the characterization of the main images (from Faust, the leitmotifs of his youth returned, to achieve happiness, the two themes of love Marguerite and Faust). Some of the motifs have a "through" value for the whole opera, and some - only for the individual scenes.
The musical style of opera marked by melodic richness - an abundance of colorful plastic ring tones, which are based on detailed solo, ensemble and choral numbers. Gounod combines singing and recitation arioznoe, increasing the declamatory moments in the dramatic scenes (the scene in prison).
Constant reference to the genres of Gounod's music consumer, intonational sphere of folk songs, ballads, rhythmic structure of the march, dance, due to his desire to democratize opera as a genre.
Since a central role in the drama of the opera is a lyric line Marguerite and Faust, all the nodes and the brightest moments on stage and musically - in the main ensemble scene (in the garden, in prison), and only partially solo (Cavatina of Faust, ballad and aria Margarita). This line passes through all of the opera orchestral introduction and prologue monologue of Faust, his duet with Mephistopheles and Faust's aria in a duet, the first operation (second picture) met Marguerite and Faust in the area - tie drama, the second action, central to the disclosure of these two image-Cavatina of Faust, A ballad and aria Marguerite and Faust Duet - a lyrical climax of the opera, the third act - a watershed in the way of dramatizing Margaret - aria "the spinning wheel" and especially the scene Marguerite and Mephistopheles front of the temple, the fourth act - the scene of Faust and Marguerite in prison - the dramatic climax opera. |