An examination of the theme of the devil in opera since the 19th century in the context of music and acting

What is it that comes to mind when we think of the devil? This ominous figure has been ever present in our lives; but is it just God's nemesis, forever trying to lead people away from Him, lure them towards evil? Or is it just an excuse, a justification for people who want far more than what God allows? Our world, our present society is still sometimes strained by rules and values of the past and religions imposed on us.These limitations often force people to hide and suppress their true feelings or needs; and once they dare reveal them they are blamed for deviating from the right path and are threatened with the familiar figure of the devil and his tortures. If we take a look at Goethe's Faust, we see that Faust is devoted to science, art, literature; he is constantly seeking to taste worldly pleasures (all things frowned upon by the church). Seeing how short life is, he accepts Satan's deal without a second thought, ignoring all possible consequences and without realizing that he's been a puppet manipulated by Satan all along. Goethe's Faust remains the main inspiration for composers of the 19th century, however L. Sphor shifts his focus on C. Marlowe's tragedy "Doctor Faustus". In this work, Mephistopheles is the one tormenting Faustus, commissioned by Lucifer himself who in this case is the one to seal the deal with Faustus. So these are the faces of the devil in these grand operas: Mephistopheles as the Satan himself by Goethe and Mephistopheles as the mere servant of Satan by Marlowe. Whatever the position of power though, he remains the distorter of the truth. This work intends to guide opera singers who aspire to interpret this archetypal character. Keywords: 19 Century, Devil, Opera