It has a lightness and consistent propulsion that captures the spirit of the words, which describe waltzing as a light breeze raising dust from fields. The first verse describes being drawn into the waltz and making the countryside resound with singing.
In a second verse, the words are of dancing till out of breath, until carried away as the earth dizzily spins round. Quelle joie dans tous les yeux! By the middle of the 19th century, Europe whirled to the waltz.
It invited a sense of perpetual motion through the momentum of turning as you dance. And with this came associations of liveliness, levity and even lasciviousness — you need to hold your partner very close! The waltz was the dance of hedonistic enjoyment.
So when Gounod uses a waltz to introduce the celebrating crowds in Act II of Faust , he signals through his musical setting their complete happiness. Gounod uses more than the three-beats-in-the-bar regularity of the waltz rhythm and the steady oom-pah-pah accompaniment. While the first part of the waltz begins with repeated notes in a middle register, the second section picks out a high note at the beginning of each phrase echoed in the orchestration straight after.
Using the waltz as a social dance that evokes a sensation of group abandonment to pleasure recurs in operas and operettas.
But it works for solo moments too. As she opens the box, then tries out how she would look in diamonds and pearls, she sings an aria famous for its coloratura fast and delicate high notes.
Here is the same musical creation of breathless excitement, the racing heart. It shows itself in the main tune, which begins with a run up to one little high note — a thrill of delight — followed by a phrase of incredulous delight, and continues through successive rising phrases.
In the first act, Juliette declares she has no intention of marrying and settling down to some domestic restraint. Instead, 'Je veux vivre' — she wants to live!
But while that waltz song plays, we forget the future and just give in to the moment and that delightful, invigorating, seemingly endless whirl. The first act yields not one but four Faust characters and three Margarets, who not unlike the devil and his conquest form multiple parts of a single personality. It is the Faust of Fabian Stromberger who proceeds to the second part, however, easily complimenting Nell with his physical grace and earnest characterization.
The casting of Kaufmann in the role of Faust was equally felicitous. Create a Want Tell us what you're looking for and once a match is found, we'll inform you by e-mail. Posted Dec 10, at pm by David Albert. Upper edge trimmed, loss to title. Unfortunately, there are a number of reasons why we're limited in the number of productions we're able to film, cost being one. Would you like to report poor quality or formatting in this book?
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