Overview
Synopsis
Mefistofele makes a wager with heaven that he can prove there is not one redeemable man in the whole world, and he means to do so by tempting the most scholarly and most pious man he can think of: Doctor Faust himself. He visits Faust on Easter Sunday, and makes him an offer: in exchange for his soul, Mefistofele will give Faust everything he desires. Faust immediately accepts.
Stepping onto Mefistofele’s magic cloak, the two of them embark on an adventure where Faust will fall in love again and again, and have everything his heart desires. Faust is returned to his youth, and together they witness a Witches’ Sabbath, and join Helen of Troy in Elysium. But, ultimately, it was all in vain. The more Faust experiences, the more empty it all seems. He returns to his books, with the conviction that he should never have left them, and it is there he dies, offering himself to god. As in Goethe’s original, Faust is accepted into heaven, and Mefistofele is left with nothing.
Boito’s Mefistofele is an operatic feast of choruses, dances, satanic ritual, and heavenly rapture.
Show Information
- Music
- Arrigo Boito
- Libretto
- Arrigo Boito
- Based on the Play/Book/Film
- Faust, Part One and Part Two
- Category
- Opera
- Age Guidance
- Thirteen Plus (PG-13)
- Number of Acts
- 4
- First Produced
- 1875
- Genres
- Drama, Horror
- Settings
- Multiple Settings, Spectacle, Fantasy/Imaginary, Period
- Time & Place
- Heaven, Hell, Frankfurt, 1800s
- Cast Size
- medium
- Orchestra Size
- Large
- Dancing
- Heavy
- Licensor
- None/royalty-free
- Ideal For
- Professional Opera, Mostly Male Cast, Includes Young Adult, Adult, Mature Adult, Elderly Characters, Medium Cast
Context
Arrigo Boito is probably known better for his librettos, rather than his compositions, but he did turn his hand to writing several operas in his lifetime. The first of these, and the only one he completed was Mefistofele. Based on both parts of Goethe’s Faust, the opera underwent considerable revision after its first performances in 1858, which were subject to rather unpleasant reviews. Boito’s newly revised version of the opera, with four acts, plus a prologue and
to read the context for Mefistofele and to unlock other amazing theatre resources!Plot
Prologue
In heaven
In heaven, a celestial chorus is singing the praises of their most holy Lord (‘Ave, Signor degli angeli e dei santi’). At the end of their song of praise, Mefistofele appears, joining in with the last line. He stands with his feet on the edge of his cloak, and asks to be pardoned for his lateness, and for not being the perfect singer, or having the perfect face (‘Ave, Signor’). Mefistofele brings his reports from his observations of humans, and the news is not good;
to read the plot for Mefistofele and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Bass |
|
|
Lead |
Male |
Tenor |
|
|
Lead |
Female |
Soprano |
|
|
Supporting |
Female |
Soprano |
|
|
Featured |
Either Gender |
Contralto |
|
|
Featured |
Male |
Tenor |
|
|
Featured |
Female |
Contralto |
|
|
Featured |
Male |
Tenor |
|
|
Ensemble |
Either Gender |
Soprano, Mezzo-Soprano, Tenor, Baritone, Bass, Contralto |
Songs
Prologue
- Prelude: ‘Ave, Signor degli angeli e dei santi’ - Chorus (La Falangi Celesti)
- ‘Ave, Signor’ - Mefistofele
- ‘T’è noto Faust? … Il più bizzarro pazzo’ - Chorus (Coro Mysticus), Mefistofele
- ‘Sanctus! Sanctus!’ - Chorus (La Falangi Celesti)
- ‘Siam nimbi volanti dai limbi’ - Mefistofele, Chorus (Cherubini)
- ‘Salve, Regina!’ - Chorus
Act 1
Scene 1
- ‘Perché di là?’ - Chorus
- ‘Al soave raggiar di primavera’ - Faust, Wagner
- ‘Juhè! Juhè! Juheisa! Juhè!’ - Chorus (Popolani)
- ‘Sediam sovra quel sasso’ - Faust, Wagner, Chorus
Scene 2
- ‘Dai campi, dai prati’ - Faust, Mefistofele
- ‘Son lo spirito che nega’ - Mefistofele
- ‘Se tu mi doni un’ora di roposo’ - Faust, Mefistofele
- ‘Fin da stanotte’ - Mefistofele, Faust
Act 2
Scene 1
- ‘Cavaliero illustre e saggio’ - Margherita, Faust, Mefistofele, Marta
- ‘Dimmi, se credi, Enrico, nella religione… Non vo’turber le fedi delle coscienze buone’ - Margherita, Faust
- ‘Dio clemente, nuove, ignara son del mondo …. E l’analito superno… Ah! Davver? Né in trappola cadest Ancor? … Non so, credetelo, che sia l’amore’ - Margherita, Faust, Marta, Mefistofele
Scene 2
- ‘Su, cammina, cammina, cammina’ - Mefistofele
- ‘Folletto, folletto, folletto!’ - Faust, Mefistofele, Chorus, Streghe, Stregoni
- ‘Popoli! E scettro e clamide non date al Re sovrano?’ - Mefistofele, Streghe, Stregoni
- ‘Ecco il mondo?’ - Mefistofele, Streghe, Stregoni
- ‘Stupor! Stupor!’ - Mefistofele, Faust, Streghe, Stregoni
Act 3
- ‘L’altra notte in fondo al mare’ - Margherita, Faust, Mefistofele
- ‘Dio di pietà!’ - Margherita, Faust
- ‘Lontano, Lontano, Lontano’ - Margherita, Faust
- ‘Sorge il dì’ - Mefisteofele, Margherita, Faust
- ‘Spunta … L’aurora pallida’ - Margherita, Faust, Mefistofele, Chorus (La Falangi Celesti)
Act 4
- ‘La luna immobile innonda’ - Elena, Pantalis, Faust
- ‘Ecco la notte del classico sabba’ - Mefistofele, Faust
- ‘Ah! Trionfi ad Elena’ - Coretidi (Chorus)
- ‘Notte cupa, truce, senza fine, funebrei’ - Elena, Coretidi
- ‘Forma ideal purissima della bellezza eternal’ - Faust, Elena, Mefistofele, Pantalis, Nereo, Coretidi
Epilogue
- ‘O rimembranza!’ - Faust, Mefistofele
- ‘Giunto sul passo estremo’ - Faust, Mefistofele
- ‘All’erta! All’erta!’ - Mefistofele, Faust, Chorus (La Falangi Celesti, Cherubini)
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
Sorry! We do not currently have terms for this guide.
Videos
Quizzes
Themes, Symbols & Motifs
Sorry! We do not currently have learning modules for this guide.
Quote Analysis
Sorry! We do not currently have learning modules for this guide.
Guide Written By:
Wendy Silvester
Singer and vocal coach based in the UK.