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Given that Huebner's 1990 book refers to various autograph manuscripts (eg BN17724), he would have had to take dictation from the 'real' composer... Cg2p0B0u8m ( talk) 23:06, 3 October 2011 (UTC)
The cast box in the article informes that Siebel is a stuednt of Faust's and Wagner is a friend of Faust's. This is, however,information that originates from Goethe's book, not from the Opera's libretto. There is nothing in the libretto that says anything like this about those two characters. To avoid confusion the information in the cast box should either be edited so that it says where this information is from, or deleted completely. From the action one can infer that Wagner is a friend of Valentin, and Siebel has no other role as being an admirer of Marguerite. -- Jidu Boite ( talk) 08:11, 12 December 2011 (UTC)
From Léo Delibes:
References
Is this suggestion viewed seriously, and if so, don't we need to cover it in this article? -- Jack of Oz [pleasantries] 23:49, 23 May 2016 (UTC)
2.53.36.68 (talk) is right I think, (and we should be grateful for his/her edit summary provided, unlike some editors), and it might have been better not to revert him a second time without discussing. If you look at page 6 of http://imslp.nl/imglnks/usimg/a/ae/IMSLP327910-PMLP48987-Gounod_-_Faust_-_Acte_1.pdf there is no grand anywhere. Walsh in his Théâtre Lyrique book describes it as an opera and I cannot find the word grand in the chapter in Huebner's study of Gounod; while New Grove Opera calls it opéra, Kobbe (1958) and Kaminski also have no grand. So it would be more useful to have a list of reliable sources which call it an grand opera. Cg2p0B0u8m ( talk) 16:25, 8 March 2017 (UTC)
Unsourced trivia should not be in article space. If anyone wants to re-add any of the following, please only do so while providing a source.
Parts of the opera have seeped into popular culture in Europe over more than a century.
The opera was very popular in the United States, a fact to which Edith Wharton makes great reference in her novel The Age of Innocence. Wharton's novel opens at the New York Academy of Music during the end of the second act of the opera, when Christina Nilsson is singing the "Daisy Song".
The Argentinian author Estanislao del Campo wrote a satirical poem, Fausto (1866), which describes a gaucho's impressions during the performance of Gounod's opera.
A performance of the opera is part of the story of Gaston Leroux's The Phantom of the Opera and appears in some film adaptations including the 1925 version. Irene Dunne performs the "Jewel Song" in the film Stingaree (1934) and Jeanette MacDonald performs several scenes from the opera in San Francisco (1936), complete with costumes, sets and orchestra.
There are very short extracts from the words to the "Jewel Song" in several stories in The Adventures of Tintin. In this series of comic strips, Tintin and his sidekick, Captain Haddock, often encounter a bombastic opera singer called Bianca Castafiore, of a more than passing resemblance to a later (1882) eminent Marguerite, Emma Calvé. Her trademark is the jewel song, which she always sings at high volume, never saying more than Ah! je ris de me voir si belle en ce miroir or a few words more from other lines. The entire Tintin story The Castafiore Emerald (original title: La Castafiore's Jewels) derives from this running gag.
Siébel's aria, "Faites-lui mes aveux" from act 3 of the opera is quoted twice ("Tell her, oh flower") by Dorn in act 2 of Chekhov's play, The Seagull. The same song is used as the basis for Ravel's piano piece À la manière de Chabrier, in which the song by Gounod is rendered in the style of a composer much admired by Ravel.
In Thomas Mann's novel, The Magic Mountain, Hans Castorp plays "Valentin's Prayer" in the chapter Highly Questionable.
In Germaine Dulac's 1923 film La Souriante Madame Beudet (The Smiling Madame Beudet), the protagonist, an unhappy wife virtually imprisoned in the apartment above her much older husband's drapery store, stays home while her husband and his friends go to see a local production of Gounod's Faust, which is seen as representing everything oppressive, patriarchal, and belonging to the culture of the previous century. The wife's own musical preferences lay with the more modernist Claude Debussy, whose "Jardins sous la pluie" (Gardens in the Rain), she plays on her upright piano—until her husband locks the keyboard. Smeat75 ( talk) 00:43, 18 September 2018 (UTC)
The result of the move request was: Not moved. No consensus to move the page after 10 days. ( non-admin closure) © Tbhotch ™ ( en-2.5). 18:21, 21 July 2019 (UTC)
Faust (opera) →
Faust (Gounod) –
WP:DISAMBIGUATION, cf.
Faust (Spohr). However no objection to leaving a
WP:PRIMARYREDIRECT in place for people who don't know the composer, and don't know that there's a second opera.
In ictu oculi (
talk) 22:41, 11 July 2019 (UTC)
![]() | This article is rated Start-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||||||||||||
|
Given that Huebner's 1990 book refers to various autograph manuscripts (eg BN17724), he would have had to take dictation from the 'real' composer... Cg2p0B0u8m ( talk) 23:06, 3 October 2011 (UTC)
The cast box in the article informes that Siebel is a stuednt of Faust's and Wagner is a friend of Faust's. This is, however,information that originates from Goethe's book, not from the Opera's libretto. There is nothing in the libretto that says anything like this about those two characters. To avoid confusion the information in the cast box should either be edited so that it says where this information is from, or deleted completely. From the action one can infer that Wagner is a friend of Valentin, and Siebel has no other role as being an admirer of Marguerite. -- Jidu Boite ( talk) 08:11, 12 December 2011 (UTC)
From Léo Delibes:
References
Is this suggestion viewed seriously, and if so, don't we need to cover it in this article? -- Jack of Oz [pleasantries] 23:49, 23 May 2016 (UTC)
2.53.36.68 (talk) is right I think, (and we should be grateful for his/her edit summary provided, unlike some editors), and it might have been better not to revert him a second time without discussing. If you look at page 6 of http://imslp.nl/imglnks/usimg/a/ae/IMSLP327910-PMLP48987-Gounod_-_Faust_-_Acte_1.pdf there is no grand anywhere. Walsh in his Théâtre Lyrique book describes it as an opera and I cannot find the word grand in the chapter in Huebner's study of Gounod; while New Grove Opera calls it opéra, Kobbe (1958) and Kaminski also have no grand. So it would be more useful to have a list of reliable sources which call it an grand opera. Cg2p0B0u8m ( talk) 16:25, 8 March 2017 (UTC)
Unsourced trivia should not be in article space. If anyone wants to re-add any of the following, please only do so while providing a source.
Parts of the opera have seeped into popular culture in Europe over more than a century.
The opera was very popular in the United States, a fact to which Edith Wharton makes great reference in her novel The Age of Innocence. Wharton's novel opens at the New York Academy of Music during the end of the second act of the opera, when Christina Nilsson is singing the "Daisy Song".
The Argentinian author Estanislao del Campo wrote a satirical poem, Fausto (1866), which describes a gaucho's impressions during the performance of Gounod's opera.
A performance of the opera is part of the story of Gaston Leroux's The Phantom of the Opera and appears in some film adaptations including the 1925 version. Irene Dunne performs the "Jewel Song" in the film Stingaree (1934) and Jeanette MacDonald performs several scenes from the opera in San Francisco (1936), complete with costumes, sets and orchestra.
There are very short extracts from the words to the "Jewel Song" in several stories in The Adventures of Tintin. In this series of comic strips, Tintin and his sidekick, Captain Haddock, often encounter a bombastic opera singer called Bianca Castafiore, of a more than passing resemblance to a later (1882) eminent Marguerite, Emma Calvé. Her trademark is the jewel song, which she always sings at high volume, never saying more than Ah! je ris de me voir si belle en ce miroir or a few words more from other lines. The entire Tintin story The Castafiore Emerald (original title: La Castafiore's Jewels) derives from this running gag.
Siébel's aria, "Faites-lui mes aveux" from act 3 of the opera is quoted twice ("Tell her, oh flower") by Dorn in act 2 of Chekhov's play, The Seagull. The same song is used as the basis for Ravel's piano piece À la manière de Chabrier, in which the song by Gounod is rendered in the style of a composer much admired by Ravel.
In Thomas Mann's novel, The Magic Mountain, Hans Castorp plays "Valentin's Prayer" in the chapter Highly Questionable.
In Germaine Dulac's 1923 film La Souriante Madame Beudet (The Smiling Madame Beudet), the protagonist, an unhappy wife virtually imprisoned in the apartment above her much older husband's drapery store, stays home while her husband and his friends go to see a local production of Gounod's Faust, which is seen as representing everything oppressive, patriarchal, and belonging to the culture of the previous century. The wife's own musical preferences lay with the more modernist Claude Debussy, whose "Jardins sous la pluie" (Gardens in the Rain), she plays on her upright piano—until her husband locks the keyboard. Smeat75 ( talk) 00:43, 18 September 2018 (UTC)
The result of the move request was: Not moved. No consensus to move the page after 10 days. ( non-admin closure) © Tbhotch ™ ( en-2.5). 18:21, 21 July 2019 (UTC)
Faust (opera) →
Faust (Gounod) –
WP:DISAMBIGUATION, cf.
Faust (Spohr). However no objection to leaving a
WP:PRIMARYREDIRECT in place for people who don't know the composer, and don't know that there's a second opera.
In ictu oculi (
talk) 22:41, 11 July 2019 (UTC)