01 · Scene and lyrics
Boito's opera Mefistofele (1875) takes place in Frankfurt am Main, Germany, in mid XVI century, in classical Greece and in Heaven. The plot line was inspired by Goethe's drama "Faust" and the opera based on a literary and splendid libretto written by the composer himself. World premiered at La Scala in 1868, the opera was whistled and catcalled by the audience, who were used only to the traditional Italian music of opera, free of European trends. Painstakingly revised, cut in size and renewed, Mefistofele was re-presented and received in triumph at Bologna in 1875.

Boito's Mefistofele does not enjoy as great popularity as Gounod's Faust but is more profound, has philosophical concepts entwined with the melodrama and moments of rare beauty and pathos, where the music is truly lyrical. It includes the tenor's celebrated aria "Giunto sul passo estremo", which one of our distinguished members of Forum, Antonio, from New York, qualified as "one of the most beautiful and lyrical melodies ever written, let alone some of the most beautiful phrases set to music. It is just a shame that this opera is rarely performed at the Met, I would so much like to see it live."

Faust' studio at night is the scene depicted in the Mefistofele's Epilogue. Old and tired, the disappointed Faust goes over the vain adventures pursued with Mefistofele, the devil, who reminds him that death is near. Faust has had from Mefistofele that he wished for but never succeeded in capturing an instance of perfect joy. He dreams of Heaven, the infinite land and people sagely governed by the supreme king, God, and the greatest need of existence, love for God, which will give him the joy he longs for.

02 · The Italian lyrics

FAUST
Giunto sul passo estremo
Della più estrema, età,
In un sogno supremo
Sì bea l'anima già,
In un sogno supremo, ecc.
Re d'un placido mondo,
D'una landa infinita,
A un popolo fecondo
Voglio donar la vita.

MEFISTOFELE
(fra sè)
Spiar voglio il suo cor.

FAUST
Sotto una savia legge
Vo'che surgano a mille
A mille e genti e gregge
E case e campi e ville.

MEFISTOFELE
(fra sè)
Ah! All'erta, tentator!

FAUST
Ah! Voglio
Che questo sogno
Sia la santa poesia
E l'ultimo bisogno
Dell'esistenza mia.
Voglio che questo sogno
Sia la santa poesia
Dell'esistenza!

Note: The Italian lyrics marked in bold are those referred to in the critical analysis. In singing, the last line "dell'esistenza!" is at times changed to "del povero mio cor!" and raised by a semitone, which conveys languor, extends the aria melodically and imparts expressive finality to it.

03 · Choice
For the Audio Files of the Month, my main choice is Beniamino Gigli singing Faust's aria "Giunto sul passo estremo" from the Epilogue of Boito's Mefistofele, recorded circa 1926. My second choice is Salvatore Fisichella singing the same aria, recorded in 1976. I also include Carlo Bergonzi's rendition in 1964 for a glimpse of his highly acclaimed interpretation onstage.

04 · Historical Notes
Beniamino Gigli: The Italian legendary tenor Beniamino Gigli's well encapsulated and inspired biography has been revised by our editor Jay and may be found in our list of "Post-Caruso tenors." It makes very interesting reading. Jay has this to say: "A master of vocal colouring and of projecting sentiments, Beniamino Gigli came to enjoy status as ‘The People's Singer' for his many and popular appearances outside the opera venue." Of poor origins and after a series of humble jobs, Gigli studied in Rome and made his debut in 1914, taking on a career which ended in 1956 with a repertoire of 40 operas. The repertoire was initially lyrical with Ponchielli's La Gioconda, Boito's Mefistofele, Mascagni's Lodoletta and Puccini's la Bohème and then richer and more complete with Bellini, Donizetti, Bizet, Giordano, Verdi, Puccini's operas, ending with the duo Cavalleria and Pagliacci.

05 · Critical Analysis
"Giunto sul passo estremo" is one of the most inspired and genial intuitions by Boito. It is a warm, intimate and languid aria. The old Faust dreams of Heaven in a sort of exalted desire and as a last goodbye to earth. At the brink of death, he wishes that his dream be the saint poetry of his existence and poor soul. The poetic aria calls for serenity, languor, luminous sounds and expressive accents.

06 · Listen to the audio files

01 · Beniamino Gigli: Giunto sul passo estremo
Recorded circa 1926 at 36 years of age.
Size: 490 kb*
I am deeply indebted to tenor Salvatore Fisichella for kindly providing the audio file.

02 · Salvatore Fisichella: Giunto sul passo estremo
Recorded in 1976 at 33 years of age.
Size: 738 kb
I am deeply indebted to tenor Salvatore Fisichella for kindly providing the audio file.

03 · Carlo Bergonzi: Giunto sul passo estremo
Recorded in 1964 at 40 years of age.
Size: 770 kb

Audio format: mp3PRO at 32 kbps (*16 kbps)
Copyright disclaimer

NB: All audio files have been removed in accordance with Grandi Tenori.com's policy on audio files.

Listening to the recording of the aria, Gigli's Italian pronunciation is articulate and excellent. The aria is sung in an exhilaratingly lyrical style, which is conspicuous throughout due to a superb legato mixed with serenity and languor. "Giunto sul passo estremo" are languid intonations and the repeated "si bea l'anima già" are lyrical sfumature beautifully sculptured. "E case e campi e ville" are dramatic bursts, amply arched and impressively sustained, denoting an extraordinary reserve and control of breath due to technical mastery. There is extension, power and sureness of voice in the acuti "supremo" and "sogno." The key words "del povero mio cor!" are exceptionally sung in place of "dell'esistenza!" and "…mio cor" are emotional top notes at the very end of the aria to convey intimate and desperate cries of the soul. It is a cadenza raised by a semitone and admirably done.

Listening to the same recording of the aria, Fisichella's Italian pronunciation is very good. The aria is immersed in a sumptuously rich timbre, coloured, vigorous and brilliant in the acuti. Fisichella admirably extinguishes "supremo," recalling the legendary Fleta, the king of smorzature, and the young Di Stefano. He also makes splendid use of the same cadenza "del povero mio cor!" as Gigli does at the very end of the aria and powerfully so, I dare say, a mark of his superb voice of tenore lirico-spinto.

Bergonzi sings the aria with great clarity of diction. He reveals robust vocal means and rare interpretive capacity. His rendition pulsates with emotionally suffused beats such as "Re" and "Ah! Voglio" His dark voice is able nevertheless to conquer the second octave, his instinct, musicality, tenacity and experience give rise to a vibrant rendition devoid of histrionics.

Notes: Intonation is the attack of a phrase with harmony of sound and colour, aria is a vocal piece which is melodic and expressive with ampleness, regularity, limpidity and virtuosity, sfumatura is a vocal execution in passing gradually from a note to another with expression, smorzatura is a sound diminuendo almost to extinguishment, cadenza is a passage of bravura improvised by the interpreter.

Extras: Grandi Tenori.com biographies:
- Beniamino Gigli biography
- Salvatore Fisichella
- Carlo Bergonzi biography