One of the most unusual nineteenth-century operas has to be Mefistofele by Arrigo Boito. This is the same man who later became famous as the librettist of Verdi`s two final masterpieces, Falstaff and Otello. But he was also a composer in his own right, and Mefistofele was his masterpiece.
The opera had a checkered career. Boito, although Italian, was an ardent Wagnerian and wanted to bring the principles of Wagnerian music drama into the Italian opera houses. Mefistofele, loosely based on Goethe`s Faust, was certainly a suitable subject for such a work. But the work was badly received at the 1868 premiere, provoking a riot in the audiences, and the police intervened to close the production after two performances! Boito withdrew the score for reworking, during which he produced a much shorter and more conventionally Italianate opera. The biggest change was converting the part of Faust from a baritone to a tenor.
The opera as completed begins with a Prologo in cielo (`Prologue in Heaven") which is the most "Wagnerian" part of the work remaining. This scene all by itself lasts for 25 minutes, and calls for a large mixed choir, children's choir, and the bass soloist who plays Mefistofele, as well as a large orchestra with extra percussion. Following from Goethe the music first moves in a stately 3/4 tempo, with fanfares depicting the seven trumpets and a thunder sheet and full percussion standing in for the seven thunders. A choir hymns the praise of God. Mefistofele appears and the music changes to a lively scherzando. His part is nimble, lightning-quick, and almost comedic (he finishes by saying that it amuses him to find the Almighty remains on such good terms with the devil!). He offers to wager with God for Faust's soul, and the male choir replies "Sia" ("Let it be so!"). After Mefistofele vanishes (suddenly), a choir of young cherubs is heard dancing by like fireflies and then the main chorus returns with their hymn to God, rising to an overwhelming and thunderous climax to end the Prologue.
Many years ago, I had the privilege of hearing Robert Shaw conduct this dramatic Prologue at Roy Thomson Hall as part of the annual Choirs in Contact conference of the Ontario Choral Federation. The choir consisted of over 400 singers from all over Ontario, plus the children, and the American bass-baritone Thomas Paul sang the role of Mefistofele. It was coupled with four short choral works of Brahms, all rarely heard, with the great Maureen Forrester in the Alto Rhapsody. A memorable day indeed! As for recordings, there have been a few of the Prologue. Leonard Bernstein recorded a memorable one for DGG in Vienna, which may still be available -- Nicolai Ghiaurov was his soloist.
It was many years before I gave the complete opera a shot, but when I did buy a complete recording I certainly enjoyed it! There's a great deal of excellent and memorable music throughout the score, and the final scene of Faust's death and redemption (and the defeat of Mefistofele) returns to the overwhelming conclusion of the prologue, rounding the work off very satisfactorily! This Decca records release starred Luciano Pavarotti as Faust and Nicolai Ghiaurov as Mefistofele with Mirella Freni as Margarita. The conductor was Olivero de Fabritiis. This was certainly not the last word on the score, but it's a very recommendable version.
This opera has actually been recorded a number of times. Why then do I classify it as a "rarity" for inclusion in this blog? The scale of the piece is so great that a really good performance lies beyond the in-house capabilities of many opera companies.
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