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Updated: May 28, 2025
Faust's compact with Mefistofele, as in Goethe's dramatic poem, is the outcome of a wager between Mefistofele and God, under the terms of which the Spirit of Evil is to be permitted to seduce Faust from righteousness, if he can.
Boito changes the order of the scenes which he borrows from Goethe, presenting first the merrymaking of the populace outside the walls of Frankfort-on-the-Main, and then the interview between Faust and Mefistofele, in which, as in the opening scene of Gounod's opera, the infernal compact is agreed upon.
There is a change from the pretty garden of the first scene, with its idyllic music, to the gathering place of witches and warlocks, high up in the Brocken, in the second. We witness the vile orgies of the bestial crew into whose circles Faust is introduced, and see how Mefistofele is acclaimed king and receives the homage.
Over this music Mefistofele carries on converse with God. He begs to disagree with the sentiments of the angelic hymn.
When 'Mefistofele' was originally produced in 1868, Verdi's genius was still in the chrysalis stage, and the novelty and force of Boito's music made 'Mefistofele, even in its fall for the first performance was a complete failure a rallying point for the Italian disciples of truth and sincerity in music.
To show that it is impossible to think of "Mefistofele" except as a series of disconnected episodes, it suffices to point out that its prologue, epilogue, and four acts embrace a fantastic parody or perversion of Goethe's Prologue in Heaven, a fragment of his Easter scene, a smaller fragment of the scene in Faust's study, a bit of the garden scene, the scene of the witches' gathering on the Brocken, the prison scene, the classical Sabbath in which Faust is discovered in an amour with Helen of Troy, and the death and salvation of Faust as an old man.
For this reason or a better, he begged Nesta to supplant the flute duet with the soprano and contralto of the Helena section of the Mefistofele, called the Serenade: La Luna immobile. She consulted her mother, and they sang it. The crowds below, swollen to a block of the street, were dead still, showing the instinctive good manners of the people.
Attempting too much, he accomplished too little. His opera is not a well-knit and consistently developed drama, but a series of episodes, which do not hold together and have significance only for those who know Goethe's dramatic poem in its entirety. It is very likely that, as originally produced, "Mefistofele" was not such a thing of shreds and patches as it now is.
In all likelihood Boito put the obertass into "Mefistofele" because he knew that musically and as a spectacle the Polish dance would be particularly effective in the joyous hurly-burly of the scene. A secondary meaning of the Polish word is said to be "confusion," and Boito doubtless had this in mind when he made his peasants sing with an orderly disorder which is delightful:
This notion, equally convenient to an indolent man or a colossal egoist I do not believe that Boito is either has been nurtured by many pretty stories; but, unhappily, we have had nothing to help us to form an opinion of Boito as a creative artist since "Mefistofele" appeared, except the opera books written for Verdi and Ponchielli and the libretto of "Ero e Leandro."
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