Recommended for Grades 6-12
In this resource, you will:
- Learn the opera’s background and synopsis
- Meet the opera’s composer
Faust
by Charles Gounod
Faust
by Charles Gounod
A quick overview of Gounod’s 1859 opera about a deal with the devil.
Background
Is the freedom of youth worth an eternity in hell? It is to the aging Faust, who makes a pact with Méphistophélès to exchange his soul for Earth’s mortal pleasures. With his youth restored, Faust woos the lovely Marguerite, but his troubles are far from over. Along the seductive path to riches and power, Faust realizes his salvation is tragically bound to others, including those he loves most.
By the time Johann Wolfgang von Goethe (1749-1832) began writing the epic saga that would inspire Charles Gounod’s opera, the legend of Faust—the ultimate “deal with the Devil” story—was already a few centuries old. Indeed, German texts from the sixteenth century reveal “Doctor Faust” may have actually been a real doctor or magician who reportedly died a very strange, very gruesome death. The doctor’s bizarre bio eventually made its way into Germanic folklore (way before the days of the Brothers Grimm), where it was transformed into a cautionary tale about the dangers of asking too much out of life.
Faust would later be immortalized by Shakespearean contemporary Christopher Marlowe in his play Doctor Faustus, and would enjoy even greater fame nearly two hundred years later thanks to Goethe’s massive two-part drama—a work that took him nearly 60 years to finish.
Goethe’s version came with a twist, however: He was the first to introduce the character of Margaret (also known as “Gretchen” and referred to as “Marguerite” in French), the young woman Faust seduces and then discards.
It was Marguerite’s side of the story that proved so moving that it went on to influence a long list of nineteenth-century Romantic artists, including powerhouse composer Hector Berlioz (who wrote his own Faustian opera, La damnation de Faust), song master Franz Schubert, and Gounod, who became a fan of the Goethe story during a trip to Rome—a place filled with images of angels and demons.
Faust’s tale continued to spark imaginations well into the twentieth and twenty-first centuries (think of movies like Damn Yankees and Bedazzled or TV series like Lucifer or Chilling Adventures of Sabrina), and the term “Faustian bargain” has become a universal phrase meaning “to sell one’s soul.” The original Doctor Faust may have met a tragic end, but his legacy isn’t going anywhere anytime soon.
Synopsis
The sixteenth-century Germanic countryside.
Poor Dr. Faust. He’s been a scholar for decades but has now become an old man with nothing to show for it. He doesn’t really know anything. He doesn’t really feel anything. He has no idea what the meaning of life is. And he’s entirely alone.
Determined not to wait for death, he attempts suicide only to be distracted by a chorus singing God’s praises outside his door. Annoyed, Faust cries out that God can do nothing for him. Faust wants his youth back. He wants love and affection. God can’t give him any of those things.
So Faust calls upon the Devil instead (what a brilliant idea).
Immediately, the Devil appears in the form of Méphistophélès, a demon disguised as a wealthy gentleman. Faust explains he wants a chance to be young again (with maybe the added bonus of a few girlfriends), and Méphistophélès proposes a deal: all the youth and ladies Faust could ever want in exchange for his immortal soul.
Faust hesitates, but when Méphistophélès tempts him with a vision of a breathtaking woman who lives close by, he’s sold. The two sign a contract and Faust is transformed into a dashing young man, ready to hit the streets.
In the nearby village, a young soldier named Valentin prepares to go to war. Worried that his sister, Marguerite, will be left unchaperoned, Valentin asks his young friend Siébel to watch over her.
But soon, Méphistophélès arrives to stir up trouble.
After singing a song to entertain the locals, Méphistophélès teases Valentin and his friends by reading palms and predicting not-so-nice futures. The demon then proposes a toast in honor of Marguerite. Shocked that Méphistophélès knows his sister’s name and sensing this stranger is up to no good, Valentin draws his weapon—only to have it shatter in midair. Valentin calls on God for protection from evil as the crowd disperses.
Later, Faust urges Méphistophélès to introduce him to the maiden from the magical vision. Méphistophélès cautions that this particular lady may not be interested in Faust’s advances—she is, after all, none other than (surprise!) Marguerite, Valentin’s pious sister. Still, Faust demands to see her, and Méphistophélès orchestrates a “meet cute.” Faust turns on the charm, but Marguerite shies away.
Attempting to speed the love affair along, Méphistophélès leads Faust to Marguerite’s house and leaves her a basket of jewels, hoping they’ll help Marguerite look more favorably on her new suitor.
And—boom—the gamble pays off.
As Faust and Méphistophélès hide nearby, Marguerite—who’s been daydreaming about her brief encounter with a handsome stranger (Faust)—uncovers the jewels and treats herself to a luxurious “makeover.”
Her neighbor, Marthe interrupts her. Marguerite is slightly embarrassed, but not half as embarrassed as she is when Faust arrives and compliments her beauty while proclaiming his undying love.
Méphistophélès distracts Marthe, leaving Faust and Marguerite alone. In no time at all, Marguerite reveals she’s just as smitten with Faust as he is with her, despite her concern that a whirlwind romance could bring her everlasting shame. (Marguerite may be innocent but she’s not stupid; she knows the other villagers won’t look kindly on an unwed woman who spends all her time with a young man). And yet, with a little coaxing from Méphistophélès, Marguerite agrees to be Faust’s girl forever.
Several months later.
With no recent word from Faust, Marguerite sits nervously at her spinning wheel. Siébel arrives to keep her company, but his attempts to comfort her are in vain: She’s carrying Faust’s child, and there’s no ring on her finger.
At this (very) inopportune moment, Valentin and his army come marching home from war. Having emerged victorious, Valentin is ready to celebrate with Marguerite, but soon discovers something’s gone very wrong in his absence (thanks for blabbing, Siébel).
As Valentin goes off to confront his “disgraced” sister, Faust and Méphistophélès turn up at Marguerite’s door hoping to smooth things over, as Faust has been feeling remorseful about leaving his former love.
But everything goes to hell (see what we did there?) when Valentin bursts on the scene, demanding someone take responsibility for his sister’s situation. A fight breaks out and Faust ends up stabbing Valentin. Faust and Méphistophélès disappear just as some villagers gather to see about the commotion. Marguerite rushes to her brother’s side, but Valentin pushes her away, claiming his impending death is all her fault and cursing her as he collapses on the ground.
With nowhere to turn, Marguerite goes to church to pray. Once there, however, an unforgiving voice (which sounds mysteriously like Méphistophélès) declares that her sins have damned her forever.
Sometime later, Marguerite has landed in prison. Her brother’s death and Faust’s abandonment have driven her mad, causing her to murder her newborn child.
Convinced he’s loved Marguerite all along and that the trials and tribulations of the past few months were all the Devil’s doing (really, dude?), Faust persuades Méphistophélès to help him break Marguerite free.
But will Faust’s newfound sense of commitment be enough to save Marguerite before it’s too late? Can his love rescue her from execution? Will they both be able to escape Méphistophélès’s eternal damnation?
Meet the Artists
Listen to the Story
Eugène Delacroix (1798–1863), Faust and Mephistopheles, 1827, oil on canvas [].
Presented by Washington National Opera, host Saul Lilienstein takes you through the musical world of Gounod’s 1859 about a deal with the devil, Faust.
Watch an Excerpt
Angela Gheorghiu as Marguerite sings the Jewel Song from Act III of Gounod’s Faust.
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Written by
Eleni Hagen
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Edited by
Lisa Resnick
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Produced by
Kennedy Center Education
Digital Learning
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