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Christophe Pelé / OnP

Christophe Pelé / OnP

Opera

Faust

Charles Gounod

Opéra Bastille

from 26 September to 18 October 2024

3h42 with 2 intervals

Synopsis

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Selling his soul to the devil for eternal youth is Faust’s – inevitably risky – gamble. By joining forces with the diabolical Mephistopheles, the elderly scholar recovers a youthfulness that allows him to win over the beautiful Marguerite, but at what cost???

When Charles Gounod set to work on the myth made famous by Goethe, he had not yet known any true success. The melodic invention and dramatic intensity of his Faust, premiered in 1859 at the Théâtre Lyrique, changed all that. Although Carré and Barbier’s libretto focused more on Marguerite’s fall and redemption than on the hero’s metaphysical dimension, this did not prevent the work from becoming a national monument, inspiring even Hergé, whose Castafiore sings the famous “Jewel song”.

Tobias Kratzer’s staging, with its spectacular videos, conjures up a contemporary Paris, a grandiose setting and a place of iniquity for young people struggling with their inner fears.  

Duration : 3h42 with 2 intervals

Language : French

Surtitle : French / English

Show acts and characters

CHARACTERS

Doctor Faust
Méphistophélès
Marguerite

Siebel: a student
Valentin: Marguerite’s brother
Wagner: a friend of Valentin
Dame Marthe: Marguerite’s neighbour

First part

Act 1
The scholar Faust is grappling with growing old. He believes his best years are already behind him. Only the distant voices of young girls prevent him from committing suicide (N°1 Introduction and N°2 Scène et Choeur “Rien !”) Faust aspires to youth and lashes out at God (N°3 Scène “Mais ce Dieu, que peut-il pour moi ?”). At that moment a mysterious stranger appears in Faust’s house: Méphistophélès.

He offers to give him back his youth. In exchange, Faust’s soul will belong to him after his death. Faust accepts the pact. A magic potion from Méphistophélès transforms him into a young man (N°4 Duo “Me voici !”).

Act 2
Faust and Méphistophélès go on a trip to mingle with people (N°5 Choeur général “Vin ou bière”). The soldier Valentin is about to be called up for military service. He draws strength and comfort from a gift from his sister Marguerite (N°6 Scène, Récitatif et Cavatine “Ô sainte médaille”). Siebel the student is also enthusiastic about Marguerite. He is in love with her. Méphistophélès disturbs the evening’s serenity. He provokes all present with a song (N°7 Ronde du veau d’or). When Méphistophélès also demonstrates his magical powers, the atmosphere changes (N°8 Scène et Choeur “Merci de ta chanson !”).

Méphistophélès is chased away (Choral des épées). Faust and Méphistophélès set off for new adventures. During a dance, they meet Marguerite. Faust immediately falls in love with her. Siebel is forced to observe Faust’s attempts to seduce Marguerite. However at first she turns the latter away. Méphistophélès promises to help Faust win Marguerite’s love (N°9 Valse et Choeur “Ainsi que la brise légère”).

Second part

Act 3
A love-struck Siebel appears with flowers in front of Marguerite’s home. But his gift wilts in his hands (N°10 Entracte et Couplets “Faites-lui mes aveux”). Faust and Méphistophélès are also keeping watch in front of the house (N°11 Scène “C’est ici ?”). Faust is exhilarated by his love for Marguerite (N°12 Cavatine “Quel trouble inconnu me pénètre?). Méphistophélès brings precious jewels which he places in front of Marguerite’s door as a gift (N°13 Recitative “Alerte ! La voilà ! – Fuyons !”).

In her room, Marguerite is still thinking about the strange young man she met at the dance (N°14 Scène et Air “Je voudrais bien savoir quel était ce jeune homme”). She tries to take her mind off it with a love story (Chanson du roi de Thulé). But when she discovers the jewels, the new experience of the precious gift plunges her into a state of excitement (Air des bijoux). Martha, Marguerite’s neighbour, advises her to accept the present. Finally, Faust and Méphistophélès come out of their hiding place (N°15 Scène “Seigneur Dieu! Que vois-je ?”).

While Méphistophélès distracts a rapidly-impassioned Marthe, Faust goes for a walk with Marguerite (N°16 Quatuor “Prenez mon bras un moment !”). Once again, Marguerite wants to take leave of Faust. But, encouraged by Méphistophélès, Faust persists (N°17 Scène “Il était temps !”). Faust and Marguerite draw closer to each other (N°18A Duo “Il se fait tard !”). But when Faust hesitates to take the final step, Méphistophélès takes back control of the situation (N°18B Scene “Tenez ! Elle ouvre sa fenêtre...”).  

Third part

Act 4
Several weeks have passed. Marguerite is pregnant. And Faust has left her (N°19 Scène et Air “Il ne revient pas.”). Siebel has to admit that Marguerite will never love him. He promises that he will always be there to help her (N°20 Récitatif et Couplets “Versez vos chagrins dans mon âme !”). Alone, in a public place, Marguerite is tormented by forebodings. Méphistophélès frightens her (N°21 Scène de l’église “Seigneur, daignez permettre à votre humble servante”).

Along with the other soldiers, Valentin is also coming home (N°22 Choeur des soldats). Siebel tries to conceal Marguerite’s pregnancy from her brother, but he is unable to prevent Valentin from going to her home (N°23 Récitatif et Scène “Allons, Siebel! Entrons dans la maison !”). Faust, too, wants to see Marguerite again. Méphistophélès sings a mocking serenade below her window (N°24 Sérénade “Vous qui faites l’endormie”). Valentin sees his sister dishonoured and mocked by Faust and Méphistophélès.

Once again, he allows himself to be provoked and attacks them both. During the fight, he is mortally wounded by Faust (N°25 Trio du duel “Que voulez-vous, messieurs ?”). Faust and Méphistophélès flee. As he dies, Valentin curses his sister (N°26 Mort de Valentin).

Act 5
Faust and Méphistophélès hurry through the night (N°27 La nuit de Walpurgis et N°28 Bacchanale). In a vision, Faust sees Marguerite kill her newborn child. He wants to join her (Fin du N°29 Scène “Qu’as-tu donc?”). Faust finds Marguerite haggard and confused.

Full of anguish and guilt, she refuses all help from him (N°30 Scène de la Prison). Méphistophélès exhorts them both to flee with him. Marguerite refuses. She no longer believes she can be saved (N°31 Trio final “Alerte, alerte!”). But redemption comes from unexpected quarters (N°32 Apothéose “Sauvée”).

Artists

Opera in five acts (1859)

Creative team

Cast

The Paris Opera Orchestra and Chorus

Media

[TRAILER] FAUST by Charles Gounod
[TRAILER] FAUST by Charles Gounod
  • Exploring the human condition: Pene Pati on Faust

    Exploring the human condition: Pene Pati on Faust

    Watch the video

  • Draw-me Faust

    Draw-me Faust

    Watch the video

  • Imaginary Faust

    Imaginary Faust

    Watch the video

  • Recipe of the day: Faust

    Recipe of the day: Faust

    Watch the video

  • The video projections in Faust

    The video projections in Faust

    Read the article

Exploring the human condition: Pene Pati on Faust

Watch the video

7:59 min

Exploring the human condition: Pene Pati on Faust

By Marion Mirande

Currently starring in the title role of Charles Gounod's Faust, tenor Pene Pati talks about his character, who, eternally dissatisfied, draws all those around him down with him in his quest to fulfil his desires.

He discusses Gounod's musical and vocal writing and highlights the manner in which Tobias Kratzer's staging challenges us at a time when the temptation to want more and more is ever greater.

Draw-me Faust

Watch the video

Understand the plot in 1 minute

1:35 min

Draw-me Faust

By Octave

I want a treasure, which contains them all! I want youth! Frustrated by the futile quest for knowledge, the erudite old Faust sells his soul to the devil in exchange for eternal youth and the beautiful Marguerite… Reworking the legend which Goethe popularised, Gounod focuses on the love story and elevates the significance of Marguerite’s fall and ultimate salvation.

His decision to lighten the philosophical scope of the narrative allowed him to balance scenes where the supernatural called for something visually spectacular with a parallel microcosm governed by inner actions and feelings. Gounod’s score is a tour de force of melodic invention whose vocal composition reveals the composer’s skill at conveying sincere and immediate emotion.

German director Tobias Kratzer reflects on contemporary society’s obsession for eternal youth. With its sophisticated scenography, his production oscillates between hyperrealism and magic, the world of today and the eerie atmosphere of German romanticism.  

Imaginary Faust

Watch the video

A repertoire work narrated in a visual poem born of popular culture

1:03 min

Imaginary Faust

By Marc de Pierrefeu, Marion Mirande

“I want a treasure which contains them all! I want youth!” Frustrated by the futile quest for knowledge, the erudite old Faust sells his soul to the devil in exchange for eternal youth and the beautiful Marguerite… Reworking the legend popularised by Goethe, Gounod focuses on the love story and elevates the significance of Marguerite’s fall and ultimate salvation.

Choosing to lighten the narrative’s philosophical scope allows him to strike a balance between scenes where the supernatural calls for the visually spectacular and others depicting a universe governed by inward actions and feelings.

Transposed to the present day, Tobias Kratzer’s Faust reflects on contemporary society’s obsession with eternal youth. His production’s sophisticated scenography oscillates between hyperrealism and magic, between the world of today and the mysterious atmosphere of German romanticism.  

Recipe of the day: Faust

Watch the video

Ingredients of Tobias Kratzer's stage production

000:47 min

Recipe of the day: Faust

By Octave

© Elena Bauer / OnP

The video projections in Faust

Read the article

Interview with Mathilde Jobbé Duval

04 min

The video projections in Faust

By Aliénor Courtin

Staged by Tobias Kratzer for the first time during in 2020, Faust was truly discovered by the public in 2022. This production, reimagined in a contemporary fashion, uses modern technology: video projections punctuate the story and participate fully in the narrative. To mark its revival on the stage of the Opéra Bastille, Octave met Mathilde Jobbé Duval, head of the video-sound team, who presents several techniques used, including live camera and frontal projections.

I have been working at the Opera for 17 years. Today, I am a audio and video production manager. I don't participate in the intital creative process, but as of the first technical run-throughs and stage rehearsals. My job, together with the whole team, is to study the project's feasibility and to do everything possible to bring it to fruition. It's always very satisfying to take part in creations because you really work on building something with the director and his teams.

For Faust, the director, Tobias Kratzer, and the video artist, Manuel Braun, came up with an ambitious video installation. A frontal projection on a tulle covering the entire proscenium combines pre-created images and live video.

Most of the videos were shot by drone in the streets of Paris during the lockdown. Others were taken from archive stockshots. For the scene of "La Chevauchée", two extras playing Faust and Mephistopheles shot the images in costume on the Champs-Elysées by night. Manuel Braun also chose to use special effects to animate certain images. This is the case of the scene showing Notre-Dame de Paris in flames.

Once all these images had been shot and edited, and Tobias Kratzer and Manuel Braun had selected the shots to appear on the screen, my job was to assemble the projection and make it as attractive as possible. I made corrections to colours and angles, cropping and harmonising formats. Most of my work is therefore prepared in advance so that everything runs smoothly during the performance. Then, during the performance, I make sure that the broadcast goes smoothly.

One of the most used video systems is the live camera. The soloists are filmed live by two cameramen who are two of the extras playing Mephistopheles' demons. I am in contact with them throughout the performance to assist with their movements and to check that the setting is clear before being projected live, depending on the camera feedback I see from my control room. This system is used in Marguerite's "Jewel Aria" scene and also in Dame Marthe's flat and in the metro.

© Charles Duprat / OnP

I am also in contact with the stage manager who gives me the cues. That is, she indicates the exact moments at which I should launch the images, according to musical cues. In the case of the live scenes, the camera sequences were defined when the production was created with the previous performer of Marguerite (editor's note: the performer in 2021 was Ermonela Jaho and in 2022, Angel Blue). The two singers do not follow exactly the same movements, so we have to adapt the sequence of images. It's still live! To sum up, as a video operator, I pay attention to the artists' movements and the stage manager to the music.

Tobias Kratzer's direction is very readable, the story is told literally so the videos are very realistic. Of course, some scenes are more fanciful than others, like that of "La Chevauchée". But it remains a narrative video, every frame moves the story forward.

  • [EXTRAIT] FAUST de Gounod - "Il était un roi de Thulé" (Amina Edris)
  • [EXTRAIT] FAUST de Gounod - "Versez vos chagrins dans mon âme !" (Marina Viotti)
  • [EXTRAIT] FAUST de Gounod - "Avant de quitter ces lieux" (Florian Sempey)
  • [EXTRAIT] FAUST de Gounod - "Ah! je ris de me voir si belle en ce miroir" (Amina Edris)
  • Faust (saison 24/25) - Acte 1 - Salut O Mon Dernier Matin

  • Faust (saison 24/25) - Acte 3 - Ah je ris de me voir si belle

  • Faust (saison 24/25) - Acte 2 - Avant de quitter ces Lieux

  • Faust (saison 24/25) - Acte 2 - Valsons valsons

  • Faust (saison 24/25) - Acte 3 - Il était un roi de Thulé

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Faust


Watch online the recording from season 21/22 on Paris Opera Play, with Benjamin Bernheim, Ermonela Jaho, Christian Van Horn, Florian Sempey...

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Access and services

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

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The desire for eternal youth is at the heart of Gounod’s opera. The theme encompasses human history and artistic creation in the 19th century – from Goethe’s Faust to Oscar Wilde’s Portrait of Dorian Gray – as well as in the 20th century and up to the present day – from Janáček’s Makropoulos Affair to Michel Houellebecq’s La Possibilité d’une île –, its topicality is more than ever confirmed by the reflection on transhumanism initiated by contemporary science and by the economic implications it engenders. For his first production at the Paris Opera, Tobias Kratzer highlights the Faustian utopia of immortality, just as he celebrates Paris, the epicentre of grand entertainmentin Gounod’s day, and its urban mythologies.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot
super alt text
super alt text
super alt text
super alt text
super alt text

The desire for eternal youth is at the heart of Gounod’s opera. The theme encompasses human history and artistic creation in the 19th century – from Goethe’s Faust to Oscar Wilde’s Portrait of Dorian Gray – as well as in the 20th century and up to the present day – from Janáček’s Makropoulos Affair to Michel Houellebecq’s La Possibilité d’une île –, its topicality is more than ever confirmed by the reflection on transhumanism initiated by contemporary science and by the economic implications it engenders. For his first production at the Paris Opera, Tobias Kratzer highlights the Faustian utopia of immortality, just as he celebrates Paris, the epicentre of grand entertainmentin Gounod’s day, and its urban mythologies.

BUY THE PROGRAM
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

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