Work: The Damnation of Faust (La Damnation de Faust), Op.24| Date | Event | Composers, Works, Performers |
|---|---|---|
| Thursday 25-Jul-13 08:00pm |
 Grand Théâtre De Québec: Louis-Fréchette Hal, Quebec, QCLa Damnation de Faust Festival d'opéra de Québec |
Opera de Quebec |
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| Grand Théâtre De Québec: Louis-Fréchette Hal, Quebec, QC, 269 René-Lévesque E, Quebec City, Quebec G1R 2B3, Canada Thursday 25-Jul-13 08:00pm La Damnation de Faust Original French Version
Faust has lost hope; he is suffering from the "Mal du siècle", the inability to experience happiness. Mephistopheles suddenly appears and convinces the scholar to embark on an adventure to reclaim the pleasures life has to offer. During this grand journey marked by magic, demons and love, Faust will rush to rescue sweet Marguerite, his new flame. The final destination, however, is quite different than expected as Mephistopheles claims his due. Image credit: Ken Howard | ||
| Saturday 27-Jul-13 02:00pm |
Grand Théâtre De Québec: Louis-Fréchette Hal, Quebec, QC La Damnation de Faust Festival d'opéra de Québec |
Opera de Quebec |
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| Grand Théâtre De Québec: Louis-Fréchette Hal, Quebec, QC, 269 René-Lévesque E, Quebec City, Quebec G1R 2B3, Canada Saturday 27-Jul-13 02:00pm La Damnation de Faust Original French Version
Faust has lost hope; he is suffering from the "Mal du siècle", the inability to experience happiness. Mephistopheles suddenly appears and convinces the scholar to embark on an adventure to reclaim the pleasures life has to offer. During this grand journey marked by magic, demons and love, Faust will rush to rescue sweet Marguerite, his new flame. The final destination, however, is quite different than expected as Mephistopheles claims his due. Image credit: Ken Howard | ||
| Monday 29-Jul-13 08:00pm |
Grand Théâtre De Québec: Louis-Fréchette Hal, Quebec, QC La Damnation de Faust Festival d'opéra de Québec |
Opera de Quebec |
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| Grand Théâtre De Québec: Louis-Fréchette Hal, Quebec, QC, 269 René-Lévesque E, Quebec City, Quebec G1R 2B3, Canada Monday 29-Jul-13 08:00pm La Damnation de Faust Original French Version
Faust has lost hope; he is suffering from the "Mal du siècle", the inability to experience happiness. Mephistopheles suddenly appears and convinces the scholar to embark on an adventure to reclaim the pleasures life has to offer. During this grand journey marked by magic, demons and love, Faust will rush to rescue sweet Marguerite, his new flame. The final destination, however, is quite different than expected as Mephistopheles claims his due. Image credit: Ken Howard | ||
| Wednesday 31-Jul-13 08:00pm |
Grand Théâtre De Québec: Louis-Fréchette Hal, Quebec, QC La Damnation de Faust Festival d'opéra de Québec |
Opera de Quebec |
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| Grand Théâtre De Québec: Louis-Fréchette Hal, Quebec, QC, 269 René-Lévesque E, Quebec City, Quebec G1R 2B3, Canada Wednesday 31-Jul-13 08:00pm La Damnation de Faust Original French Version
Faust has lost hope; he is suffering from the "Mal du siècle", the inability to experience happiness. Mephistopheles suddenly appears and convinces the scholar to embark on an adventure to reclaim the pleasures life has to offer. During this grand journey marked by magic, demons and love, Faust will rush to rescue sweet Marguerite, his new flame. The final destination, however, is quite different than expected as Mephistopheles claims his due. Image credit: Ken Howard | ||
| Sunday 23-Feb-14 06:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
-Uwe-Arens.jpg "Image credit: Uwe Arens") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 23-Feb-14 06:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Thursday 27-Feb-14 07:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 27-Feb-14 07:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Wednesday 5-Mar-14 07:30pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 5-Mar-14 07:30pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Saturday 8-Mar-14 07:30pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 8-Mar-14 07:30pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Friday 23-May-14 07:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Elīna Garanča, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Marko Mimica, Bass: Brander Ildebrando D'Arcangelo, Baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Friday 23-May-14 07:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Elīna Garanča, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Marko Mimica, Bass: Brander Ildebrando D'Arcangelo, Baritone: Méphistophélès | ||
| Monday 26-May-14 08:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Elīna Garanča, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Marko Mimica, Bass: Brander Ildebrando D'Arcangelo, Baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Monday 26-May-14 08:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Elīna Garanča, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Marko Mimica, Bass: Brander Ildebrando D'Arcangelo, Baritone: Méphistophélès | ||
| Thursday 29-May-14 08:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Elīna Garanča, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Marko Mimica, Bass: Brander Ildebrando D'Arcangelo, Baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 29-May-14 08:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Elīna Garanča, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Marko Mimica, Bass: Brander Ildebrando D'Arcangelo, Baritone: Méphistophélès | ||
| Sunday 1-Jun-14 06:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Elīna Garanča, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Marko Mimica, Bass: Brander Ildebrando D'Arcangelo, Baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 1-Jun-14 06:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Elīna Garanča, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Marko Mimica, Bass: Brander Ildebrando D'Arcangelo, Baritone: Méphistophélès | ||
