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| Meeting Gounod one day, Barbier confided to him that he wished to make an opera libretto out of "Faust." Gounod jumped at an idea which he had himself secretly cherished for years, and the collaboration was arranged there and then. Barbier proceeded to discuss the plan with his friend and habitual co-worker, M. Carré, who, curiously enough, had just had a small piece called Faust et Marguerite acted at the Gymnase. On this work Carré had probably expended all the courage he possessed. At any rate he accepted with the greatest stolidity the notion which already fired Barbier and Gounod with such enthusiasm. The plot, he said, was worn out; it was too vast; it was not theatrical enough; and so on. Still, though he had no faith in the project, he would take his usual share of the collaboration. As it turned out, Carré’s share was very limited -- just enough, in fact, to enable him to claim to have his name connected with the immortal work. At the end of the year the opera was finished./ Source |
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| Roles Doctor Faust tenor Méphistophélès bass Marguerite soprano Valentin, a soldier, Marguerite's brother baritone Wagner, friend of Faust baritone Siebel, Faust's student mezzo-soprano or soprano Faivre (pants role) Marthe Schwerlein, Marguerite's guardian mezzo-soprano or contralto Young girls, labourers, students, soldiers, burghers, matrons,invisible demons, church choir, witches, queens and courtesans of antiquity, celestial voices |