Charles Gounod was one of France's premiere composers, standing alongside Jules Massenet and Jacques Meyerbeer. Born in 1818, he won the prestigious Prix de Rome before he was 20. But during his studies in Rome he focused not on the composition of opera, but sacred music. It was not until the reign of Napoleon III, in the mid-19th century, that Gounod's lyrical melodies would grace the opera house. Indeed, the aesthetic of France's Second Empire was perfectly suited to Gounod's refined melodies, harmonious orchestrations, and ordered lyricism.

The character of Faust is the protagonist of a classic German legend in which he makes a pact with the Devil. The tale became the basis of a great number of works including musical works by Hector Berlioz and Franz Liszt, etchings by Rembrandt, numerous ballets, and most importantly, literary works by Shakespeare's contemporary Christopher Marlowe, Thomas Mann, and the famous novel by Goethe, the first part of which would become the model for Gounod's opera.

Originally composed with spoken dialogue, the first performances of Gounod's Faust in 1859 at the Theatre-Lyrique in Paris were not well received. It was up to the publisher Antoine Choudens and Gounod to revise the work into a grand opera with great spectacle. It subsequent performance in 1862 was a hit, ensuring its lasting place in the operatic repertoire ever since. Throughout the 20th century, Faust remained the most popular opera at the Metropolitan Opera, having received more performances at the Met than any other work in the repertoire.

ACT I. Alone in his study, the aged Dr. Faust despairs that his lifelong search for a solution to the riddle of life has been in vain. Twice he raises a goblet of poison to his lips but falters when the songs of young men and women outside his window re-awaken the unfulfilled passions and desires of his youth. Cursing life and human passion, the envious philosopher calls on Satan for help. The Devil appears, and Faust tells him of his longing for youth and pleasure; Méphistophélès replies that these desires can be realized if he will forfeit his soul. Faust hesitates until the Devil conjures up a vision of a lovely maiden, Marguerite. A magic potion transforms Faust into a handsome youth, and he leaves with Méphistophélès in search of Marguerite (Duet: "A moi les plaisirs").

ACT II. Soldiers and townspeople gather for a fair. A young officer, Valentin, holding a medallion from his sister Marguerite, asks his friend, the young boy Siébel, to protect the girl in his absence and then bids a touching farewell ("Avant de quitter ces lieux"). Wagner, a student, starts the revels with a lively song but is interrupted by Méphistophélès, who delivers an impudent hymn in praise of greed and gold ("Le veau d'or"). The Devil refuses a drink from Wagner and amazes the crowd by causing new wine to flow from an old keg. When he makes a brazen toast to Marguerite, Valentin draws his sword, but it shatters; the other soldiers, recognizing Satan, hold their swords like crosses before Méphistophélès (Chorus: "De l'enfer"), who cowers before them. As the crowd begins a waltz, Faust speaks to Marguerite. She demurely refuses to let him escort her home; Méphistophélès returns to lead the merrymakers in their dance.

ACT III. Siébel briefly visits Marguerite's garden to leave her a bouquet of flowers ("Faites-lui mes aveux"). The romantic youth is followed by Faust and Méphistophélès, who goes in search of a gift to outshine Siébel's; left alone, Faust hails Marguerite's simple home ("Salut! demeure"). The Devil returns with a box of jewels, which he places near Siébel's flowers. When Marguerite arrives, she sits by her spinning wheel to sing a ballad about the King of Thule ("Il était un roi de Thulé"), distractedly interrupting the verses with reflections on the stranger she has met. Discovering the flowers and box, the girl exclaims in delight as she adorns herself with jewels. ("Ah! je ris"). Méphistophélès detours a nosy middle-aged neighbor, Marthe, by flirting with her, so that Faust may complete his seduction. As Méphistophélès invokes a night full of stars, Marguerite confesses her love (Duet: "Il se fait tard!"), but nevertheless begs Faust to leave. The Devil mocks Faust's failure, and points to Marguerite, who has reappeared at her window. As she ecstatically expresses her love for Faust, they meet and embrace. She yields to his embraces, as Méphistophélès' taunting laughter is heard in the garden.

ACT IV. Marguerite seeks refuge in church, only to be pursued by Méphistophélès, who curses her and torments her with threats of damnation. She collapses. In the town square, Valentin and his comrades return from war, singing the glory of those slain in battle (Soldier's Chorus: "Gloire immortelle"). The soldier questions Siébel about Marguerite but receives only evasive replies; puzzled, he enters his house. Faust, remorseful at having abandoned Marguerite, arrives with Méphistophélès, who serenades the girl with a lewd ballad ("Vous qui faites l'endormie"). Valentin, stepping forth to defend his sister's honor, fights a duel with Faust. At a crucial moment, Méphistophélès interferes and Faust inadvertently kills Valentin. As the Devil drags Faust away, Marguerite kneels by her fatally wounded brother, who curses her with his last breath. She rises slowly and giggling madly to herself, moves through the crowd of villagers.

ACT V. In the prison Marguerite lies asleep, condemned to death for the murder of her illegitimate child. Faust and Méphistophélès enter, bent on spiriting her away. As the Devil keeps watch, Faust wakens Marguerite; at first the distracted girl is overjoyed to see her lover, but instead of fleeing with him she tarries to recall their first days of happiness. When Méphistophélès emerges from the shadows urging haste, Marguerite calls on the angels to save her (Trio: "Anges purs, anges radieux"), and she walks to the gallows. Méphistophélès pronounces her condemned, but as she approaches the hangman, a choir of angels proclaims her salvation.

CHARLES GOUNOD (1818-1893)

Gounod was born in Paris on June 18, 1818. His mother, a local piano teacher, introduced him to music and later inspired him to attend the Paris Conservatoire. After completing his studies in Paris, Gounod traveled to Italy in 1838 and was influenced by the music of Schumann and Berlioz. One year later, he won the Prix de Rome for his cantata Fernand.

Throughout his life, Gounod remained fascinated with religious music, especially 16th century polyphonic music. In 1843, he returned to Paris and took the position as organist of Mission Etrangères. Later that year he wrote the mass "Messe Sollennelle," which launched his reputation as a noteworthy composer.

In 1851, Gounod wrote his first opera Sapho (1851), but it wasn't until 8 years later when Gounod was recognized for his first great opera, Faust. However, the Franco-Prussian War of 1870 and his move to England brought about an unprofitable interruption to his fame.

By his death in 1893, Gounod had completed 12 operas, including Mireille (1864) and Romeo et Juliette (1867), yet it was his fascination with liturgical music that inspired him to the end.