This is absolutely the most wholesome iteration of the story, I don't care if it's romanticizing it either. It romanticized it better than ALW's musical to be honest, I say this as a fan of the musical with my entire heart. Wholesome Eric that just wants to chill in his lair with his fancy fake woods and make music, yes yes please.
Marguerite: Ah! C'est la voix du bien-aimé! A son appel mon coeur s'est ranimeé! Au milieu de vos éclats de rire, démons qui m'entourez j'ai reconnu sa voix! Sa man, sa douce main m'attiré! Je suis libre! Il est là! Je l'entends! je le vois! Oui, c'est toi! je t'aime! Les fers, la mort même ne me font plus peut. Tu m'as retrouvée! Me voilà sauvée! C'est toi! Je suis sur ton coeur! Faust: Oui, c'est moi! je t'aime! Malgré l'effort même du démon moqueur, je t'ai retrouvée, te voilà sauvée, C'est moi, viens, viens sur mon coeur! Marguerite: C'est toi! Me voilà sauvée! tu m'as retrouvée! Je suis sur ton coeur! Où sont les tortures les pleurs, les injures, la honte, l'effroi? Tout a disparu. Te voilà - c'est toi! Faust: Viens, viens sur mon coeur! (Faust attempts to induce Marguerite to leave with him.) Mephistopheles: Alerte! alerte! ou vous êtes perdus! Si vous tardez encor, je ne m'en mêle plus! Marguerite: Mon Dieu, protegez-moi! Faust: Viens! Marguerite: Mon Dieu, je vous implore! Faust: Fuyons! peutêtre il en est temps encore! Marguerite: Anges! Anges radieux! portez mon âme au sein des cieux! Dieu juste, à toi je m'abandonne! Dieu bon, je suis à toi! Pardonne! Anges purs, anges radieux! Faust: Viens! suis-moi! suis-moi, viens, je le veux! Viens! viens! quittons ces lieux, déjà le jour envahit les cieux! Viens! viens! c'est moi qui te l'ordonne! Viens! viens! quittons ces lieux!
this scene has so much emotions spilling out of it, I usually can't contain it. And I love how the lyrics are "yes it's you, I love you/Yes it's me, I love you" "forgive me/come to me" etc. Makes it all the more tragic though. ;.;
Definitely THE BEST! The most beautiful, best acting and music,,,, Real, not „too sweet”. Sugary verions from more recent years (2004, was annoying) That scene here ……is just …breathtaking, heavenly & so powerful. Gives me goosebumps and almost orgasmic vibes everytime..
@Lunatic1603 I love this version. I'm a big canon lover, but this version was just.. wonderful, and this scene is the main reason why. I agree, he's so beautifully expressive with his eyes and mouth.
I am completely destroyed by this scene and yet created too. For me it is the greatest moment in all opera. For me wagner is the master of masters unequalled by any other composer and yet this French man gounod surpasses him in the space of a mere 2 minutes.
This scene sealed my love for the actor who played the devil. He wanted them to sing more so he came in and sang his lines. It all could have ended there but he had the musicians continue when it seemed like they were gonna stop.
Ah! C'est la voix du bien-aimé! A son appel mon coeur s'est ranimeé! Au milieu de vos éclats de rire, démons qui m'entourez j'ai reconnu sa voix! Sa man, sa douce main m'attiré! Je suis libre! Il est là! Je l'entends! je le vois! Oui, c'est toi! je t'aime! Les fers, la mort même ne me font plus peut. Tu m'as retrouvée! Me voilà sauvée! C'est toi! Je suis sur ton coeur! Faust: Oui, c'est moi! je t'aime! Malgré l'effort même du démon moqueur, je t'ai retrouvée, te voilà sauvée, C'est moi, viens, viens sur mon coeur! Marguerite: C'est toi! Me voilà sauvée! tu m'as retrouvée! Je suis sur ton coeur! Où sont les tortures les pleurs, les injures, la honte, l'effroi? Tout a disparu. Te voilà - c'est toi! Faust: Viens, viens sur mon coeur! (Faust attempts to induce Marguerite to leave with him.) Mephistopheles: Alerte! alerte! ou vous êtes perdus! Si vous tardez encor, je ne m'en mêle plus! Marguerite: Mon Dieu, protegez-moi! Faust: Viens! Marguerite: Mon Dieu, je vous implore! Faust: Fuyons! peutêtre il en est temps encore! Marguerite: Anges! Anges radieux! portez mon âme au sein des cieux! Dieu juste, à toi je m'abandonne! Dieu bon, je suis à toi! Pardonne! Anges purs, anges radieux! Faust: Viens! suis-moi! suis-moi, viens, je le veux! Viens! viens! quittons ces lieux, déjà le jour envahit les cieux! Viens! viens! c'est moi qui te l'ordonne! Viens! viens! quittons ces lieux! for myself delete later
"Erik! Please! If you love me, please." Christine's enticing voice pleaded, loud to his ears. Then the phantom raised the boy up, knowing in that moment, despite wanting to kill him, Christine's happiness mattered more to him than his own. For he was hers. She sang for him tonight. She should have been hers. The boy breathed heavily in relief, thanking the man who spared his life and ran away just as the police had reached him and pointed their weapons at them. He looked at his father, the only person who took care of him after all the years he spent underground in his gloomy lair. Carriere took his own pistol from his breast pocket, anxiously pointed it up at the masked phantom. He would rather choose death by the bullet than to die by humiliation of people seeing his accursed ugliness. Erik nodded, urging him to end it once and for all with only Christine being the last thing in his mind. The bullet hit his chest, knocking the air out of him. He fell forward and landed on the opera roof, nearly breaking his bones. His old father carried him in his arms, stopping the policemen from approachig nearer. "Get back!" The hurried cries of an angel alerted him. Christine ran to his fragile body, wearing the Marguerite white costume that made her look even more ethereal. Tears staining her heavenly face. He whimpered as she took off his porcelain mask, showing his monstrous face. He stared deep into her orbs and saw love. Love, that he had longed wish for. She kissed his forehead and smiled as she put it back on gently. She kissed him and she did not die! Emotions filled him and he was satisfied with that. There could have been more. "Oh but there's more", like she said in their picnic. "If you love me, let me love you too." And she did, at last, she loved him and his heart has finally experienced pure bliss. He took his last breath to say her name, "Christine."
I will forever love this character of the Phantom! Such a beautiful person! Did you write this scene from the miniseries in Phanfic form? Or did you quote it? I would be interested in reading more!
Simply wonderful! That whole film was a great rendition of this story - ok, a touch Hollywood-y - but genuine, and well done. Anyway, it is't the story of the Faust opera as such, it was a melodramatic, late 19th century romantic pot boiler. I loved it. I have the DVD and still watch it regularly.
@@EmilyGloeggler7984 it was common for people back in the old days to be named after their father as to know who were who. It’s true she was Jonasdotter since her father’s names was Jonas and she was his daughter (dotter). Christine signed her names with Nilsson so I assume one is born with their fathers name as a tradition and then later when older use the family’s name (Nilsson) as she never signed anything as Jonasdotter. It could also just be her choosing to have the last name as Nilsson later on as Jonasdotter as a stage name isn’t “cool”
I think it’s beautiful that they tried to keep that as from the novel, though the novel was severely repressed and barely glimpsed. Here you see it bloom and it’s amazing in this adaptation. I wish it didn’t have that “Christine looks like his Mother” creep factor because that ruins it. Luckily they don’t focus on that and rise against it.
This idea - a love divided between the physical and the idealised emotion - is borrowed or stolen* from Rostand (Cyrano de Bergerac - based loosely on the life of the novelist and playwright) - Roxane loves (the good-looking) Christian, enchanted by what she believes to be his passionate and poetic declarations of love which are actually coming from Cyrano. *"Borrowed or Stolen" - Stravinsky once said - to justify his use of themes from Mozart - "Talent borrows, genius steals - I didn't borrow from Mozart, I stole from Mozart"
There are some operas I find dull and boring, some that are obnoxious (Die Meistersinger, with that nasty old humbug Hans Sachs) and some that I find simply nauseating, including Madama Butterfly and (especially vomit-inducing) Gounod's Faust. And yet this scene turns the musical dross into pure gold. I still think Faust is a revolting work musically, however.
That moment when gounod a composer far inferior to wagner surpassed the master of masters. Handel a composer far inferior to bach did the same thing when he wrote the messiah amen and surpassed everything bach created.
Gonoud and Wagner had different archetypes for the type of opera they were writing so comparing doesn't make sense. French grand opera isn't inferior to Gesamtkunstwerk just because they have wildly different artistic goals. It's like saying Disney cartoons aren't good anime. Also, Handel spent a ton of time as an opera impresario while Bach has literally every other type of Baroque genre except opera so again you have a different aestethic. I'd argue that since a fair chunk of Baroque music is lost to time, we can't really know for certain which were the best pieces by Handel or Bach, but I'd argue St Matt's Passion has just as many gorgeous melodies as Messiah. Messiah has the benefit of being in English, has a christmas section, and was written for the main starter religion that was the basis for a lot of the offshoots in the USA so its more accessible by the general public during a time when people feel like celebrating. Messiah is a great piece but it also has many non musical factors going for it which is why we get so many sing along concerts and such here in the USA.
