Goethe cursed attempts to set Faust to music – but composers kept trying regardless. As Terry Gilliam's version opens, Stuart Jeffries recounts a litany of depression, devils and duels
There is a curse on any composer rash enough to set Goethe's Faust to music. The German literary genius declared only Mozart capable of adapting his epic drama of damnation, sexual betrayal, witchcraft and freeform philosophic meditation. Selfishly, Mozart had died in 1791, almost 20 years before Goethe completed part one. So forever after, we have been doomed to suffer Faustian adaptations that the author would have disdained.
Perhaps Goethe's curse was issued because of That Thing he had with Beethoven. When Goethe met Beethoven (What a film! Hugh Bonneville as genteel, bewigged Goethe; Russell Crowe as Beethoven, surly and spoiling for a fight), the former bowed like a courtier; the latter didn't even remove his hat. You can see how...
There is a curse on any composer rash enough to set Goethe's Faust to music. The German literary genius declared only Mozart capable of adapting his epic drama of damnation, sexual betrayal, witchcraft and freeform philosophic meditation. Selfishly, Mozart had died in 1791, almost 20 years before Goethe completed part one. So forever after, we have been doomed to suffer Faustian adaptations that the author would have disdained.
Perhaps Goethe's curse was issued because of That Thing he had with Beethoven. When Goethe met Beethoven (What a film! Hugh Bonneville as genteel, bewigged Goethe; Russell Crowe as Beethoven, surly and spoiling for a fight), the former bowed like a courtier; the latter didn't even remove his hat. You can see how...
- 5/2/2011
- by Stuart Jeffries
- The Guardian - Film News
Philadelphia Orchestra Chief Conductor and Artistic Adviser Charles Dutoit leads the Orchestra in three concerts in Verizon Hall at the Kimmel Center celebrating the influence of African-American culture on classical music (March 12-14). The program features Milhaud's jazz-inspired The Creation of the World; George Walker's 1996 Pulitzer Prize-winning work Lilacs for voice and orchestra, with tenor Russell Thomas as soloist in its first Philadelphia Orchestra performances; Mahler's Songs of a Wayfarer, a work for which the late, great contralto Marian Anderson was known, with Philadelphia-native bass-baritone Eric Owens as soloist; and Dvoř?k's Symphony No. 9 in E minor ("From the New World").
- 3/2/2009
- BroadwayWorld.com
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