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shredsandpatches · 4 months

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The Devil Has All the Best Tunes: Ranking the Mephistopheles Arias

Since getting myself properly acquainted with Arrigo Boito's Mefistofele, I've been thinking about how much the character of Mephistopheles brings out the best in opera composers, although that's only fitting, since he also did for Goethe. And the idea of this listicle suggested itself to me pretty quickly as something to think about while I was having a slow day at work on Friday. Thus! My completely idiosyncratic ranking of the eight arias sung by Mephistopheles over the three classic Faust operas:

La Damnation de Faust (1846), Hector Berlioz

Faust (1859, later revised), Charles Gounod

Mefistofele (1868/75), Arrigo Boito

All three operas are considered in their best-known forms—like, I know there's a recent recording of the 1859 version of Faust but I haven't heard it and it doesn't even have "Le veau d'or." I'm also not rating the specific performances I used for the audio/video illustrations—all of these are of course extremely well-represented in recordings and have many, many, many versions on Youtube (the playlist I made while prepping this post has like 56 and it's only a small fraction of them all). I just picked ones that a) I like and b) allowed me to use eight different singers for the eight arias.

Finally, in case you're wondering: all of these are actually fantastic. There's only one that I don't absolutely love and I still really like it. This is just a straight-up array of bangers from beginning to end.

Behind the cut: the bangers. Join us, won't you?

8. "Vous qui faites l'endormie" (Gounod) (Text/translation)

So, here's the one I just like instead of being generally feral about. If this is your last-place entry in a ranking of arias you're doing fine. And it's basically right from Goethe! But while the evil laughter is fun, the melody just doesn't stick with me, and while comparisons are odious (pfft, right, I love comparisons) I think Berlioz did a much better job with this text.

That said, one way to make me love it is to have Bryn Terfel sing it while pawing at a strung-out (in-universe!) Roberto Alagna. What can I say, I'm a slut for Faustopheles content. (And I do love me some Bryn Terfel)

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7. "Une puce gentille" (Berlioz) (Text)

We now arrive, basically immediately, at the portion of the list where I unqualifiedly adore everything on it even without the benefit of particularly gay stagings. In general I feel that my rankings here don't quite reflect how much I love La Damnation de Faust (although longtime readers of this blog will have noticed), but I think the strength of the piece is not as much in the arias (although I love the arias) but in the duet and ensemble scenes. In any case this is a delightful number (again, directly from Goethe, also set to music by Beethoven and, later, Mussorgsky) which is also not even the strongest bass aria in the scene. I think we can all agree Brander comes out on top in the Auerbachs Keller bass throwdown, right?

As far as video choices go I always have mixed feelings at best about fully staged versions of La Damnation to begin with—performing it with onstage action belies the extent to which the most important action is psychological, and conversely there are some truly epic moments that are almost impossible to stage in a way that does justice to the music. That said: here's Ruggero Raimondi camping it up.

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6. "Devant la maison" (Berlioz) (Text)

Up above I mentioned that Berlioz does a better job with Mephistopheles' serenade than Gounod does—this is just a fun, snarky little trifle with a mock hurdy-gurdy accompaniment* and a collective evil laugh for the chorus. What's not to love?

Berlioz wrote some alternative readings into the Damnation score so that the role of Mephistopheles could be played either by a true bass or a baritone. I prefer the former (as do I think most contemporary conductors, as I haven't seen many other recordings that cast a baritone**) but Jules Bastin's lighter timbre suits the intricacy of this melody and his suavity contrasts well with the rough edges of the chorus.

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*The libretto specifies that the singer of Mephistopheles should pantomime playing one, although this seems not to have been followed by most performers. **There is one with Dietrich Fischer-Dieskau as Mephistopheles and Placido Domingo as Faust and, bafflingly, it sucks. Go figure.

5. "Ave Signor" (Boito) (Text)

We aren't even quite into the top half of the list yet (I know! Like I said: THEY ARE ALL SO GOOD) and we're already getting to the real heavy hitters. This aria wins the special recognition for Outstanding Achievement in the Field of Cuntiness. Like, sure, you're leading your best demonic life, why NOT have a casual chat with the old man (il vecchio, lol) upstairs, pout about how humans suck so much it's no fun to even tempt them these days, and then make a little bet about that weirdo Faust, all to a jaunty little flute accompaniment? Magnificent. *chef's kiss*

Erwin Schrott never fails to bring the sass and that suits this aria perfectly. The leather jacket is an excellent touch as well. I want one. (I actually own a giant leather jacket but the collar doesn't do that. I want one where the collar does that)

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4. "Voici des roses" (Berlioz) (Text)

Okay, I'm gonna let you all in on a little secret which is that STRICTLY SPEAKING, from a musical standpoint, I probably should switch around this aria and the previous. But this one gets a generous helping of sentimental favorite points for two reasons:

a) I am, as discussed, a slut for Faustopheles content and this is the single most homoerotic Mephistopheles aria in the operatic Faust corpus. He calls Faust "beloved" (bien-aimé) and sings about how he's going to be covered with "crimson kisses" and it's amazing. And very, very gay.

b) I've been onstage while John Relyea sang this and I was part of the ensuing chorus, an extended, complex seduction/dream sequence which I am pretty sure took up about half the rehearsal period all on its own. When Mephistopheles sings his recitative at the very end of it ("c'est bien, c'est bien, jeunes esprits, je suis content de vous") it always made me so happy because yeah, we EARNED THAT. But the moment before the chorus section, hearing such a commanding singer perform such a beautiful and sexy aria and then coming into that and not breaking the mood—God, it was just pure fucking magic.

So here, of course, is John Relyea singing it. Not the production I was in, for the record. I probably don't need to clarify that I have never been in the chorus at the Met. (The video cuts off before the chorus anyway but does include "Une puce gentille" and the following recitatives, and I'm not sure YouTube lets you timestamp your links anymore so if you want to skip to "Voici des roses," start around 3:15. Or you could also listen to "Une puce gentille" again because John Relyea just crushes this role)

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3. "Ecco il mondo" (Boito) (Text)

Of the three great Faust operas, Mefistofele has its finger most firmly on the pulse of the sheer chaos muppet energy exuded by its title character. This aria reprises some of the motifs introduced in "Ave, Signor" (the jaunty flute line contrasting with the grandiose intervals of the vocal line) and revolves around some really fun stagecraft. In performance, during this aria Mephistopheles displays and then smashes a model of the world—the original libretto calls for a glass globe, while the most iconic modern production uses an ordinary latex balloon. Sometimes you'll see grouchy opera purists grumble online about the latter, and they are silly: it's a perfect reflection of Mephistopheles' disdain for the "filthy and mad" (sozza e matta) human race—and his perhaps more complex feelings about one particular representative thereof. I haven't seen enough versions of this opera to cite any performances where the second half of the aria is addressed directly to Faust, but there's some pretty fabulous potential there.

Going old school for the recording here, with Cesare Siepi. Found this one in a blog post that was mostly devoted to pearl-clutching about the Carsen/Levine staging (in its most recent revival) and the sight of Christian Van Horn in tights: the reviewer found Van Horn to be a second-rate version of Siepi (on vocal grounds, not shirtlessness grounds). Harsh, man, and I'm not even that into Christian Van Horn, at least not in this role. But this is a great recording all on its own. I'm not sure why they put Emil Jannings on the cover though.

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2. "Le veau d'or" (Gounod) (Text/translation)

What can I say? This one needs no introduction, really. It's one of the great operatic bangers of all time (and one of the most persistent earworms). It was in Hannibal (I think)! Its reputation precedes it and the only reason it's in second place here is because there's one more aria that's even more awesome.

I've always loved the way Rene Pape sings this—obviously you could eat the vocals with a spoon and his physicality lends a sort of Orson Welles-y* gangster energy to the role, but also there's something about his approach to it that gives you the sense that, as @skeleton-richard once put it, "he's been both the calf and the idiots in the mud." I also love that he gets to do a little dance in this version. LET MEPHISTOPHELES TWERK.

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*And wouldn't late-period Welles have been PERFECT as Goethe!Mephistopheles? I weep for the lost opportunity.

1. "Son lo spirito che nega" (Boito) (Text)

And here we are. This aria is just an absolute masterpiece, the greatest of a truly impressive array of bangers. It just captures everything we love about the character of Mephistopheles: the chaos and terrifying cynicism, the subterranean low notes, the compelling derision and mockery. The whistling! How can you not love it? The whole thing just makes my toes curl. It really sums up why this opera should be better known and loved, because fuck. Brain chemistry forcibly altered.

AND SPEAKING OF TOE CURLING. For this bravura composition, a bravura performance by the great Samuel Ramey. He absolutely owns this role and that's perhaps nowhere most evident than right here. Even if he doesn't do his own whistling.