Opera Plots I - MDC Faculty Home Pages

and complete sympathy made by the handsome pair. The gallant Jean sings tender love songs to
his charming guest; and the Princess, to tease her host, tells him that her heart is already engaged
and that her lover is one of her own rank. The Prince is in fear for the moment on hearing this; but
after keeping him on tenter-hooks a little longer the Princess allows him to see that he is her hero
himself; and when the villagers presently come to offer their respects to the Princess, Jean de Paris
reveals his true identity, and the royal lovers receive the benediction of the delighted people.
23. MEPHISTOPHELES
Grand Opera in Four Acts By Arrigo Boito (With Prologue and Epilogue)
Libretto Arranged by the Composer from the Faust legends as treated by Marlowe and others
First Produced La Scala, Milan, 1868
Chief Characters Marguerite, Martha, Helen of Troy, Faust, Mephistopheles.
THE story follows on similar lines to that of Gounod's " Faust " in the first three acts; but there is a
com-plete change in the fourth act. In the prologue Mephistopheles appears and plans to secure the
soul of Faust; and in the background the heavenly choirs are heard singing of the final triumph
which will be theirs. The scene of Act 1 is laid in Frankfurt, where Faust and Wagner, student
friends, are joining in a festival. Faust is shadowed by a grey friar, who is Mephistopheles in
disguise; and when the young student retires to his laboratory the tempter follows, and, throwing
off his disguise, appears as a gay cavalier, and offers all earthly pleasure to the young man in
return for his promise to serve the powers of evil in hell. The compact having been made, the next
act takes us to the garden of Marguerite. Here Faust (now known as Henry) makes love to
Marguerite, whilst Mephistopheles professes a similar passion for Martha, her elderly companion.
From this we are taken to a wild scene on the summit of " The Brocken," where the Witches'
Sabbath is being celebrated; and here Faust sees in a vision the coming misery of Marguerite. This
scene is realised in the next act, where Marguerite lies in prison awaiting her doom, having killed
her child in a fit of frenzy occasioned by the desertion of Faust and the gibes of her companions.
With her returning reason, her thoughts tend heaven-wards; and when Faust presently appears, she
resists his passionate entreaties to escape with him, and on the entry of Mephistopheles she sinks
back, dead, the heavenly choir proclaiming her entrance into the angelic realms. Faust's love
adventures are not yet ended, however. In Act 4 he is found in ancient Greece, where he is
enthralled by the beauty and witchery of Helen of Troy. In spite of the intensity of this passion,
however, Faust has failed to find per-fect satisfaction in life; and in the epilogue, which takes
place in his laboratory, on his deathbed, he is anticipating the peaceful joys of the celestial life.
Mephistopheles is still his constant companion and tempter, and even though his victim is dying
he once more urges him to further paths of evil. For answer, Faust lays hold of his Bible, declaring
the Sacred Book shall be his guide; and upon his voice rising in a passionate appeal for heavenly
assistance, his prayers are answered, and as he falls back lifeless the angelic choir is again heard
announcing his reception into their midst, and the defeat of the Evil One.
24. THE GOLDEN CROSS
Opera in Two Acts By Ignaz Brüll