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Updated: June 17, 2025
His disapproval of Liszt and Wagner alienated the friendship of even the princess, and his stormy career ended at the age of sixty-six. Charles Gounod wrote as amorous music as ever troubled a human heart. Like Liszt he was a religious mystic, and Vernon Blackburn has said that the women who used to attend Gounod's concerts of sacred music "used to look upon them as a sort of religious orgy."
Gounod's treatment of the poem is by far the most intelligible, poetic, and dramatic ever attempted, and there is no opera since the days of Gluck with so little weak music, except Beethoven's "Fidelio."
She laughed and pivoted round and, after running over the keys of the piano for a second or two, began to play Gounod's "Death March of a Marionette." She played it remarkably well. When she had ended, Connor walked from the hearth, where he had been standing, to her side. I noticed a little puzzled look in his eyes. "Delightful," said he. "But, Betty, what put that thing suddenly into your head?"
I have said that there is no reason to question Gounod's statement that it was he who conceived the idea of writing the opera whose popularity is without parallel in the musical history of the Faust legend; but, if I could do so without reflecting upon his character, I should like to believe a story which says that it was Barbier who proposed the subject to Gounod after Meyerbeer, to whom he first suggested it, had declined the collaboration.
'Faust' marks the zenith of Gounod's career. After 1859 he was content for the most part merely to repeat the ideas already expressed in his chef-d'oevre, while in form his later works show a distinctly retrograde movement. He seems to have known nothing of the inward impulse of development which led Wagner and Verdi from strength to strength.
The two young people with Sganarelle's help contrive an elopement, but when the marriage is discovered, Géronte visits his wrath upon the mock doctor, and is only pacified by the news that Léandre has just inherited a fortune. The year 1859 saw the production of 'Faust, the opera with which Gounod's name is principally associated.
The compact is made, as in the first act of Gounod's "Faust;" and the curtain falls as Faust is about to be whisked away in Mephistopheles's cloak. The music, which is of a very sensuous character, is descriptive of the love-making between Faust and Marguerite, and the sarcastic passion of Mephistopheles for Martha.
Gounod's influence acted upon him like a charm, and in 'Mignon' he produced a work which, if not strictly original, has an element of personality too distinctive to be ignored. If we can dismiss all thoughts of Goethe and his 'Wilhelm Meister' from our minds, it will be possible to pronounce MM. Barbier and Carré's libretto a creditable piece of work.
Around her room she pinned the written slips which he gave at every lesson, Scripture which seemed perverted to uses other than its own: "He that endureth to the end, the same shall be saved. "Live with Goethe's Faust learn it. You will understand Gounod's better. "All art comes from the same kind of nature.
In this case we have a vast bell-shaped erection, fully nine hundred feet in height, and but little less in diameter at the bottom, floating in the air above the church out of which it has arisen. It is hollow, like Gounod's form, but, unlike that, it is open at the bottom.
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