Synonyms for mefistofele or Related words with mefistofele
Examples of "mefistofele"
2006: "Amerika, or The Disappearance"; "
"; "Tartuffe"; "The Miser"
That same year he also played the role of Faust in Boito's "
, Ramey made the role a signature one, appearing in many productions in the 1980s and early 1990s, including one given by the San Francisco Opera in November 1994. San Francisco Opera revived the 1994 production of the opera as the first production of its 2013-2014 season with Ildar Abdrazakov as
, Patricia Racette as Margherita and Ramón Vargas as Faust.
has carried Faust away to witness a Witches' Sabbath on the Brocken mountain. The devil mounts his throne and proclaims his contempt for the World and all its worthless inhabitants. As the orgy reaches its climax Faust sees a vision of Margherita, apparently in chains and with her throat cut.
reassures him that the vision was a false illusion.
(sometimes known simply as "
") is a one-off racing car created by Ernest Eldridge by combining a Fiat racing car and aeroplane engine in 1923. It is named after the demon Mephistopheles, a decision inspired by the infernal noise emitted from the unmuffled engine.
The opera received its Italian premiere at the Maggio Musicale Fiorentino on 28 May 1942 under the baton of Fernando Previtali and starring Enzo Mascherini as Faust, Renato Gigli as
, and Augusta Oltrabella as the duchess. Previtali conducted another notable production of the opera at that house in 1964 with Renato Cesari as Faust, Herbert Handt as
, and Luisa Maragliano as the duchess. La Scala staged the opera for the first time on 16 March 1960 under conductor Hermann Scherchen with Dino Dondi in the title role, Aldo Bertocci as
, and Margherita Roberti as the duchess.
In the dramatic repertoire, Ramey has been acclaimed for his "Three Devils": Boito's "
", Gounod's "Faust", and Berlioz's "The Damnation of Faust".
A heavenly chorus praises God the Creator.
scornfully declares that he can win the soul of Faust. His challenge is accepted by the Forces of Good.
Faust is in his study, deep in contemplation. His thoughts are disturbed in dramatic fashion by the sudden appearance of the sinister friar, whom he now recognizes as a manifestation of the Devil (
). Far from being terrified, Faust is intrigued and enters into a discussion with
culminating in an agreement by which he will give his soul to the devil on his death in return for worldly bliss for the remainder of his life.
Mephistopheles in later treatments of the Faust material frequently figures as a title character: in Meyer Lutz' "Mephistopheles, or Faust and Marguerite" (1855), Arrigo Boito's "
" (1868), Klaus Mann's "Mephisto", and Franz Liszt's Mephisto Waltzes.
He made his US debut in Gounod's "Faust" in 1963 at the Lyric Opera of Chicago, and he went on to sing twelve roles with the company, including the title roles in "Boris Godunov", "Don Quichotte", and "
He was a regular guest at the Vienna State Opera from 1959 to 1964, also appearing at the Berlin State Opera and Monte Carlo Opera. He retired from the stage in 1969, his last role being Faust of Boito's "
Arangi-Lombardi can be heard to impressive effect in four complete opera recordings, "Aida" (1929), "Cavalleria rusticana" (1930), "La Gioconda" (1931, with Ebe Stignani as 'Laura'), and "
" (as Helen of Troy to Nazzareno De Angelis's Mephisto) (1931).
Finger whistling or wolf-whistling is harder to control but achieves a piercing volume. In Boito's opera "
" the title character uses it to express his defiance of the Almighty.
During the 1950s, Tagliavini took on heavier roles such as Riccardo in "Un ballo in maschera", Cavaradossi in "Tosca" and Faust in "
"; but the quality of his voice suffered as a consequence.
Back in his study Faust, once more an old man, reflects that neither in the world of reality or of illusion was he able to find the perfect experience he craved. He feels that the end of his life is close, but desperate for his final victory,
urges him to embark on more exotic adventures. For a moment Faust hesitates, but suddenly seizing his Bible he cries out for God’s forgiveness.
has been thwarted; he disappears back into the ground as Faust dies and the Celestial choir once more sings of ultimate redemption.
Faust’s vision had been true. Margareta lies in a dismal cell, her mind in a state of confusion and despair. She has been imprisoned for poisoning her mother with the sleeping draught supplied by Faust and for drowning the baby she had borne him. Faust begs
to help them escape together. They enter the cell and at first Margareta does not recognize her rescuers. Her joy at being reunited with Faust turns to horror when she sees
and recognizes that he is the Devil. Refusing to succumb to further evil, Margareta begs for divine forgiveness. She collapses to the cell floor as the Celestial choir proclaims her redemption.
Marini was also successful in Teatro La Fenice di Venezia, Teatro Regio di Torino, Teatro San Carlo di Napoli and Teatro Carlo Felice di Genova, where he sang the roles of Luigi (Puccini's "Il tabarro"), Rinuccio (Puccini's "Gianni Schicchi"), Rodolfo ("La bohème"), Faust (Boito's "
"), Enzo Grimaldo (Ponchielli's "La Gioconda") and Walter (Catalani's "Loreley").
As a conductor, Usiglio led the premiere, in 1875, of the new version of Arrigo Boito's "
" in Bologna, and in 1877 he conducted the Italian premiere of Georges Bizet's "Carmen" in Naples and of "Hamlet" by Ambroise Thomas in Venice. In 1889 he led the first Modena performances of "Fosca" by Antonio Gomes.
crossover discs of popular American music. He has also appeared on television and video productions of the Met's productions of "Carmen" and "Bluebeard's Castle", San Francisco's production of "
", Glyndebourne's production of "The Rake's Progress" and Salzburg's production of "Don Giovanni".
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