Organization

Asistent dirigenta

Iztok Kocen

Asistentka režiserja

Simona Pinter

Asistenta koreografa

Monica Maja Dedović

Stefan Caprariou

Stage director

Frank Van Laecke

Conductor

Ayrton Desimpelaere

Singer

Tenor

Aljaž Farasin

Faust

Irakli Murjikneli

Branko Robinsak

Bass

Saša Čano

Mephistopheles

Peter Martinčič

Luka Ortar

Soprano

Rossana Potenza

Marguerite

Martina Zadro

Baritone

Robert Vrčon

Valentine

Jože Vidic

Mezzo-soprano

Nuška Drašček Rojko

Siebel

Rok Bavčar

Wagner

Robert Brezovar

Sabina Gruden

Martha Schwertlein

Mirjam Kalin

Lighting designer

Marc Heinz

Jasmin Šehić

Costume designer

Yan Tax

Set designer

Paul Gallis

Chorus master

Zeljka Ulčnik Remic

Stage Movement

Lukas Zuschlag

Proofreaders

Višnja Fičor

Choir Accompanist

Marina Đonlić

Jadranka Juras

Mojca Bitenc

Natalija Amina Bašić

Prostitutes

Polona Kante Pavlin

Darja Novak

Christina Thaler

Sandra Vidovič Mlakar

Inez Osina Rues

David Čadež

Soldier's

Bruno Konda

Rusmir Redžič

Edvard Strah

Damjan Kozole

Marko Erzar

Marko Ferjancic

Anton Habjan

Rok Krek

Silvo Škvarč

Tomaž Zadnikar

Concert master

Choreographer

Ingrid Coppieters

SNG Opera in balet Ljubljana

Others

Opera Chorus SNG Opera in balet Ljubljana

Orchestra

Orchestra SNG Opera and Ballet Ljubljana

slovėnų

Ljubljana

Slovenia

Public

Approved

Več o predstavi na https://www.opera.si/sl/program/predstava/opera/faust/?d=1676

Goethe's masterpiece, fragmented in Gounod's musical disguise through the prism of the transformative power of love, will be presented in the fourth opera premiere of the season. Gounod's Faust is considered one of the most picturesque romantic works in world opera literature. Mephistopheles' gift of youth, which is at the same time the curse of Faust's soul, is saved by a simple but most powerful force - love (for) Margaret. The archetypal story of the struggle between good and evil, which ends in the apotheosis of love, still today greatly excites the depths of the human spirit and acts cathartically
The legend of Dr. Faust - a wounded warlord, astrologer and alchemist of dubious fame who sold his soul to the devil to gain all the treasures, powers and pleasures of the world for a short time - gained mythic proportions soon after its first literary treatment in the late 16th century. With the motif of Faust's search for the ultimate truth and his denial of conventional views, it became the subject of numerous adaptations and interpretations in the following centuries. The unusual literary material not only resonated among writers, poets and playwrights (Marlowe, Lessing, Goethe, Klinger, Grabbe, Mann) and visual artists, but also attracted the attention of composers - alongside Ignaz Walter, Gaspare Spontini, Ludwig Berhlio, Hector Arrig Boit and many others also by the French romantic composer Charles-François Gounod.
Gounod (1818–1893) summed up the material for the opera after the first part of Goethe's poem Faust , which he became acquainted with in a French translation in 1838. Librettists Jules Barbier and Michel Carré, who wrote the text at the suggestion of a Weimar classic, did not try to spirit, but they contented themselves only with the central love story between the title character and a simple girl, Margaret. Despite moving away from the literary proposal and adaptation of Margaret's character and destiny, librettists are credited with skillful rendering of scenes, a good selection of colorful and enticing paintings, and an efficient distribution of dramatic highlights and lyrical passages. the musician largely realized the possibilities offered to him by the libretto.
Faust was baptized in 1859 at the Théâtre Lyrique in Paris, and although the work of the composer, who successfully established typical French features in his work, seemed too "German" to some, there was no shortage of critics who performed operas full of beautiful melodies. accused of non-melodicity, Faust became popular with the audience, and his triumphant march to the European opera stages began a decade later, in 1869, when Gounod enriched his work at the Paris Opera with recitatives, with individual points (Valentine's Aria, Mephisto's Fourth Act) ) and with a ballet almost twenty minutes long, thus bringing Faust very close to the structure of the great opera.

English

Goethejevo mojstrovino, fragmentirano v Gounodovi glasbeni preobleki skozi prizmo transformativne moči ljubezni, bomo predstavili v četrti operni premieri sezone. Gounodov Faust velja za eno najbolj slikovitih romantičnih del iz svetovne operne literature. Mefistov dar mladosti, ki je hkrati prekletstvo Faustove duše, reši preprosta a najmočnejša sila – ljubezen (do) Margarete. Arhetipska zgodba boja med dobrim in zlim, ki se konča v apoteozi ljubezni, še danes močno vznemirja globine človeškega duha in deluje katarzično.
Legenda o doktorju Faustu – ranocelniku, astrologu in alkimistu dvomljivega slovesa, ki je prodal svojo dušo hudiču, da bi si za kratek čas pridobil vse zaklade, moči in užitke sveta – je kmalu po svoji prvi literarni obdelavi konec 16. stoletja dobila mitske razsežnosti. Z motivom Faustovega iskanja poslednje resnice in njegovega zanikanja konvencionalnih nazorov je v naslednjih stoletjih postala predmet številnih predelav in interpretacij. Nenavadna literarna snov ni našla odmeva le med literati, pesniki in dramatiki (Marlowe, Lessing, Goethe, Klinger, Grabbe, Mann) ter upodabljajočimi umetniki, temveč je pritegnila tudi pozornost skladateljev – ob Ignazu Walterju, Gaspareju Spontiniju, Ludwigu Spohru, Hectorju Berliozu, Arrigu Boitu in mnogih drugih tudi francoskega romantičnega skladatelja Charles-Françoisa Gounoda.

Snov za opero je Gounod (1818–1893) povzel po prvem delu Goethejeve pesnitve Faust, s katero se je seznanil v francoskem prevodu leta 1838. Libretista Jules Barbier in Michel Carré, ki sta po predlogi weimarskega klasika napisala besedilo, nista skušala zajeti njenega filozofskega duha, temveč sta se zadovoljila le z osrednjo ljubezensko zgodbo med naslovnim junakom in preprostim dekletom, Margareto. Navkljub oddaljitvi od literarne predloge in priredbi, ki izpostavlja lik Margarete in njeno usodo, velja libretistoma priznati spretno izpeljavo prizorov, dober izbor pestrih in mikavnih slik ter učinkovito porazdelitev dramskih vrhuncev in liričnih mest, skladatelju pa smisel za širino glasbenega izraza, saj je kot tankočuten glasbenik v veliki meri uresničil možnosti, ki mu jih je ponujal libreto.
Krstno uprizoritev je Faust doživel leta 1859 v pariškem Théâtre Lyrique in čeprav se je delo skladatelja, ki je v svojih stvaritvah uspešno uveljavil tipične francoske značilnosti, zdelo nekaterim preveč »nemško«, manjkalo pa ni niti kritikov, ki so operi, polni čudovitih melodij, očitali nemelodičnost, se je Faust občinstvu priljubil, svoj zmagoviti pohod na evropske operne odre pa je začel desetletje pozneje, leta 1869, ko je Gounod delo za uprizoritev v pariški operi obogatil z recitativi, s posameznimi točkami (Valentinova arija, kuplet Mefista v četrtem dejanju) in s skoraj dvajset minut dolgim baletom ter tako Fausta močno približal strukturi velike opere.

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