FAUST

The aria that attracts our interest,  'Salut, demeure chaste et pure'  is taken from the opera in 5 Acts by Charles Francois Gounod.  Gounod based his opera chiefly on Michel Carre's play,  Faust et Marguerite, which in turn is based on Goethe's poem.  Faust is an 'opera-lyrique' which is derived from the French 'Grand Opera', with the traditional 5 Act format containing ballets and choruses. For 'opera-lyrique', the spectacle was thinned out to create a more song-based work of musical theatre, with more character motivation.

CHARLES FRANCOIS GOUNOD was born in Paris on the 17th June, 1818 and died at St. Cloud, Paris, on the 18th October, 1893.  He was the son of a talented but unsuccessful painter who died when Gounod was 4 years old.  His mother, also a painter, took over her husband's art classes and additionally gave music lessons to provide for her family.

Gounod was an exceptionally bright scholar, excelling in art and music.  He began composing by the age of twelve when he was undecided about which to follow for a career but music won when he was thirteen, following his first great musical experience when he was taken to see Rossini's 'OTELLO'.  He was sent to the Conservatoire where he studied under Reicha and Lesueur, subsequently studying conterpoint and composition under Halevy and Paers.

In 1839, his cantata 'Fernand' won for him the Grand Prix de Rome which allowed him a three year stay in Rome and a years travel in Germany, at government expense.  While in Rome, he discovered 16th Century sacred music which prompted a serious study of it and which in turn,  was to promote a lifelong interest in its beauty as well as other religious interests, resulting in  a conflict about entering the Church or continuing with secular music.

In 1842, Gounod returned to Paris to accept his first musical position as Music Director at the church of the Mission Etrangers, a position he held for over 4 years.  Still in a state of religious confusion, in 1847  Gounod entered the Carmelite Monastery as a noviate but he was not entirely suited to a religious life because as well as music and religion, he had also discovered women !  As his picture of the period shows, he was a handsome man and his behaviour resulted in him being referred to by some as "the philandering monk."

Gounod had to acknowledge that the only way forward for him as a composer, was in Opera.  He wrote, " For a composer there is but one road to follow in order to make a name and that is the theatre (the operatic stage).  The theatre is the place where one finds the opportunity and the way to speak every day to the public; it is a daily and permanent exposition opened to the musician."  He made his first operatic mark in 1850, with 'Sapho' but other operatic works which followed did not distinguish themselves.  In 1852, he married Anna Zimmerman, daughter of the famous pianist Pierre Zimmerman, and with his support Gounod secured the prestigious position of Superintendent of Instruction in Singing, to the communal schools of the City of Paris.  With this security of position, Gounod could focus again on his operas.  He began work on 'Faust' in 1856 and finalised it in 1859.  It was an instant and overwhelming success and earned him recognition as the most famous composer in France.  'Faust' became the most popular work both in Europe and the United States, a popularity which has endured to this day on and off, even being translated into seventy five different languages.  In more recent times, it even figures as the 'opera' in Andrew Lloyd Webber's 'The Phantom of the Opera.'

Gounod was to spend the rest of his life attempting to repeat the success.  He produced thirteen operas - with his favourite opera, 'La Reine de Saba', (1862)  he drew accusations of 'Wagnerism' - which was tantamount to the composers kiss of death in an extremely fussy Paris.   Even so, 'Mireille'  (1863) and 'Romeo et Juliette' (1864) were well received but did not reach the same heights as 'Faust.'

The story of Faust is well known so here it is presented very briefly: Lonely, old and disillusioned, Faust summons the Devil who agree to enter into a contract with him.  Mefistopheles will restore his youth for a period of time and also satisfy his sensual desires, while in return Faust will surrender his soul to Mefistopheles.  Mefistopheles conjures up a vision of Marguerite which Faust cannot resist, and he agrees.

Faust and Mefistopheles embark on their pursuit of Marguerite.  She initially rejects him but with help from Mefistopheles, she finally succumbs and Faust seduces her.

Nine months later, Marguerite has borne Faust's child but she is imprisoned for having murdered the child.  Faust implores her to leave with him but she rejects him and after appealing to God for forgiveness, she dies.  As Marguerite's soul ascends to heaven, Faust is dragged to hell by a triumphant Mefistopheles.

THE ARIA: LYRICS

THE TENORS

This aria has been recorded by the vast majority of lyric tenors from the early days of recording.  In compiling a selection for this month, many famous voices have been left out so that less well known voices can be given a chance.  To include all the versions available to Grandi-tenori  would have us listening for the next three months, so if I have left out any particular favourite, please accept my apologies.                           

The selected tenors are:

/01/  Alain Vanzo (1928-2002):    This French tenor started singing as a teenager during WW II, with a little band in local pubs and cafes in his home town of Aix-les-Bains.  He impressed a local music teacher who gave him free tuition for a year, then came military service.He then moved to Paris where he earned a living singing in a gypsy band while continuing his studies with Roland Darcoeur.  He progressed slowly through supporting roles until he was well established throughout Europe but mainly in France, as an exceptionally gifted lyric tenor.  Even though he was well known with a solid reputation, in 1976 he toured the U.S. with such success that at the age of 48 he was 're-discovered' all over again!  He died of a stroke aged 74, with his voice still intact and in excellent condition.

/02/  Richard Alexander Crooks (1900-1972):  He began singing as a treble in the local church choir at the age of 9 and was encouraged to further his studies in New York where he had lessons with Leon Rothier and Frank La Forge.  When his voice broke, developing into a tenor, he began his career cautiously in recital work.  After seeing active service in France in WWI,  he began to achieve increasing success in concerts not only in the US,  but also in London, Vienna, Munich and Berlin.  He was first heard in opera as Cavaradossi, in Hamburg, in 1927.  He returned to the US in 1928 to give further concerts and his US opera debut took place again as Cavaradossi, in 1930 with the Philadelphia Grand Opera Company.  So obvious was his talent that he reached the NY Met. in early 1933, as Des Grieux.  His career there was to last until his retirement from Opera in 1943.  He was immensely popular on radio and as a recording artist and as well as singing widely in the US and Canada,  he also made extensive tours of Australia and S. Africa.  He retired from professional singing in 1945 because of illness, although recordings of him at the age of 67, show him in fine voice sufficient to be the envy of tenors half his age.  He died at Portola Valley, California, on 29th September, 1972.

/3/  Gianni Poggi (1921-1989):  A tenor gifted with a beautiful voice and a bright natural talent, he studied in Milan under Emilio Ghiradini.  He made his debut in 1947 in Palermo singing the short role of Ismaele in Nabucco.  He was particularly successful as Riccardo in Ballo in Maschera which became one of his most famous roles.  As well as singing throught Italy and Europe, including London,he also visited Mexico and Buenos Aires and other South American venues.  He sang at the NY Met in 1957 and his career ended in Piacenza in 1969 after an unexpected and quick vocal decline.  He was a true Italian tenor, guided more by a natural instinct than by study and meditation, easy going by nature, but with vocal limitation.

/4/  William Matteuzzi (b. 1957):    William Matteuzzi was born in Bologna and started singing at 17 year of age, studying with Paride Venturi.  He made his debut in Milan, in Massenet's  Manon (1979).  His light-lyrical tenor voice, extensive, expressive and always careful phrasing, has been developed in the repertoires of Rossini, Bellini, and Donizetti.  He now enjoys an international reputation and he is hugely popular in his native Italy.

/5/  Ernesto 'Tito' Beltran: This Chilean born tenor, still not yet 40 years old, is now resident in Sweden.  He possesses a superb lyric tenor voice with an Italianate sweep to his phrasing and his professional engagements have taken him to all the major opera houses of Europe.  He has also sung at various venues in the United States and he has appeared at the New National theatre, Tokyo.  Further references to him can be found in 'Grandi-tenori'  articles where his CD's are reviewed by Dr. Neil A. Kurtzman.

/6/  Fernando De La Mora:  Since his professional debut in 1989, this Mexican tenor has performed over 21 roles which take in the lyric French and Italian works of composers such as Verdi, Puccini, Gounod, Massenet, Bellini and Donizetti.  He has performed throughout North and South America and Australia but if my information on him is up-to-date, the major Opera Houses of Europe have yet to hear this extremely talented and fine lyric tenor.

I have also included a 'mystery voice' recorded eighty years ago.  No further details at this stage but I hope that readers of Grandi-tenori will take up the challenge of identifying him!

DOWNLOADS

/01/ Alain Vanzo (r.1962) - {1.40 mb} | download
/02/ Richard Crooks (r.1937) - {1.07 mb} | download
/03/ Gianni Poggi (r.1957) - {1.26 mb} | download
/04/ William Matteuzzi (r.1990) - {1.30 mb} | download
/05/ Tito Beltran (r.1991) - {1.17 mb} | download
/06/ Fernando de la Mora (r.1995) - {1.44 mb} | download

The Mystery Voice
Download audio · {1.13 mb}

Note:
All audio sampled at 32 kbps wma 9.1

Image sources:

• Top image: Photo from F.W. Murnau's 1926 film on Faust. Source: http://www.phillipjohnston.com/

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2006 Geoffrey Mallinson for Grandi-Tenori.com
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