Editing La Damnation de Faust

{{Short description|1846 opera by Hector Berlioz}}
{{redirect|The Damnation of Faust|the 1903 film|The Damnation of Faust (film){{!}}''The Damnation of Faust'' (film)}}
{{Italic title}}
{{use dmy dates|date=September 2024}}
{{Infobox musical composition
| name                = {{Lang|fr|La Damnation de Faust}}
| subtitle            = 
| type                = {{Lang|fr|[[Oratorio|Légende dramatique]]}}
| image               = Berlioz engraving.jpg
| image_upright       = 0.7
| caption             = Hector Berlioz
| composer            = {{nowrap|[[Hector Berlioz]]}}
| opus                = 24
| translation         = ''The Damnation of Faust''
| based_on            = [[Goethe's Faust|Goethe's ''Faust'']]
| language            = French
| composed            = {{start date|1845}}
| performed           = {{start date|1846|12|06|df=y}}
| published           = 
| scoring             = {{hlist | four soloists | children's chorus | seven-part choir | orchestra }}
}}
'''''La Damnation de Faust''''' (English: ''The Damnation of Faust''), [[Opus number|Op]]. 24 is a French musical composition for four solo voices, full seven-part chorus, large children's chorus and orchestra<ref name="score">{{cite book | last = Berlioz | first = Hector | author-link = Hector Berlioz | title = La damnation de Faust: Dramatic legend in full score | publisher = Dover Publications, Inc | location = Mineola, New York  | year = 1998 | isbn = 0-486-40169-3}}</ref> by the French composer [[Hector Berlioz]]. He called it a ''légende dramatique'' ("[[Oratorio|dramatic legend]]").<ref>{{Cite Grove|author-link=D. Kern Holoman |title=Damnation de Faust, La |doi=10.1093/gmo/9781561592630.article.O002474 |year=2002 |last1=Holoman |first1=D. Kern }}</ref> It was first performed at the [[Opéra-Comique]] in Paris on 6&nbsp;December 1846.

==Background and composition history==
Berlioz read [[Johann Wolfgang von Goethe]]'s ''[[Faust, Part One]]'' in 1828, in [[Gérard de Nerval]]'s translation.<ref>{{cite journal | jstor=40535190 | last=Didier | first=Béatrice | title=Berlioz et Faust | journal=Revue d'Histoire littéraire de la France | volume=104 | issue=3 | pages=561-573 | date=July-September 2004}}</ref>  he recalled in his ''Memoirs''.

: "...this marvellous book fascinated me from the first...I could not put it down. I read it incessantly, at meals, in the theatre, in the street." 

The work so impressed Berlioz that he composed a [[Suite (music)|suite]] entitled ''Eight Scenes from Faust'', which became his Opus 1 (1829), though he later recalled all the copies of it he could find. He returned to the material in 1845, to make a larger work, with some additional text by [[Almire Gandonnière]] to Berlioz's specifications, that he first called a "concert opera", and as it expanded, finally a "''légende dramatique''" ("dramatic legend").

Berlioz worked on the score during his concert tour of 1845, adding his own text for "Nature immense, impénétrable et fière"—Faust's climactic invocation of all nature—and incorporating the [[Rákóczi March]], which had been a thunderous success at a concert in [[Pest, Hungary|Pest]], Hungary, on 15 February 1846.<ref name=memoirs>[http://www.hberlioz.com/Scores/damnation.htm Berlioz, ''Memoirs'', translated by Michel Austin, ch. 54 (excerpts)], hberlioz.com</ref>

==Performance history==
Its first performance at the [[Opéra-Comique]], Paris, 6 December 1846, did not meet with critical acclaim, perhaps due to its halfway status between [[opera]] and [[cantata]].  The public was apathetic, and two performances (and a cancelled third) rendered a financial setback for Berlioz:

: "Nothing in my career as an artist wounded me more deeply than this unexpected indifference", he remembered.<ref name=memoirs />

''La damnation de Faust'' is performed regularly in concert halls, since its first successful complete performance in concert in Paris, in 1877. Sir [[Charles Hallé]] gave the first complete performance in England on 5 February 1880.<ref>{{cite thesis|chapter=2. Sir Charles Hallé and his role in bringing ''La Damnation de Faust'' to Britain: 1880–1895|author=Rachel Howerton|title=Reshaping British Concert Life: Tracking the Performance History of Hector Berlioz's ''La Damnation de Faust'' in Nineteenth-Century Britain|type=Dr. phil.|publisher=[[University of California, Riverside]]|date=September 2019|pages=62–96|url=https://escholarship.org/uc/item/0m13g7br}}</ref> It is occasionally staged as an opera, for the first time in [[Opéra de Monte-Carlo]] on 18 February 1893, where it was produced by its director [[Raoul Gunsbourg]] with [[Jean de Reszke]] singing the role of Faust and [[Rose Caron]], Marguerite. The [[Metropolitan Opera]] premiered it first in concert (2 February 1896) and then on stage (the United States stage premiere on 7 December 1906) and revived it in concert at [[Carnegie Hall]] on 10 November 1996 (repeated on tour in Tokyo the next year). The company presented a staged production on 7 November 2008, produced and directed by [[Robert Lepage]], with techniques of computer-generated stage imagery that responded to the performers' voices.<ref>{{cite news| author=Daniel J. Wakin | title=Techno-Alchemy at the Opera | url=https://www.nytimes.com/2008/11/07/arts/music/07faus.html | work=The New York Times | date=2008-11-07 | access-date=2025-01-06}}</ref>  Filmmaker [[Terry Gilliam]] made his opera debut at London's [[English National Opera]] in May 2011, directing ''The Damnation of Faust''.<ref>{{cite web |title=''The Damnation of Faust''|publisher=[[English National Opera]]| url = http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=1087 | access-date = 23 October 2010 | url-status = dead | archive-url = https://web.archive.org/web/20101011122710/http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=1087 | archive-date = 11 October 2010 }}</ref><ref>{{cite news|title=Terry Gilliam's first opera is a damned fine glimpse of the abyss|author=Rupert Christiansen|author-link=Rupert Christiansen|url=https://www.telegraph.co.uk/culture/music/opera/8502174/The-Damnation-of-Faust-ENO-Coliseum-review.html|newspaper=[[The Daily Telegraph]]|date=9 May 2011|access-date=10 May 2011}}</ref><ref>{{cite news |title=''The Damnation of Faust'' – review |author= Andrew Clements |url=https://www.theguardian.com/stage/2011/may/07/the-damnation-of-faust-review |newspaper=[[The Guardian]] |date=7 May 2011 |access-date=10 May 2011}}</ref><ref>{{cite news |title= The Damnation of Faust, English National Opera |author= Jessica Duchen |author-link=Jessica Duchen |url=https://www.independent.co.uk/arts-entertainment/classical/reviews/the-damnation-of-faust-english-national-opera-2281533.html |newspaper= [[The Independent]]|date= 9 May 2011|access-date=10 May 2011}}</ref> In 2015, the [[Opéra National de Paris]] reimagined the role of Faust by assuming the persona of English scientist [[Stephen Hawking]] for that role. This version of the work also reinterpreted the metaphysical journey Faust is sent on by Méphistophélès in relation to the [[Mars One]] project; portraying the dilemma of man leaving earth to populate Mars.<ref>{{cite news |url=http://www.operanews.com/Opera_News_Magazine/2015/12/Reviews/PARIS__La_Damnation_de_Faust.html |title=''La damnation de Faust''|work=[[Opera News]]|date=December 2015|author=Stephen J. Mudge}}</ref> The Paris Opera cooperated with [[NASA]], [[ESA]], [[CNES]]. and film companies which produce environmental films for the production of Berlioz's work.<ref name="operadeparis">{{cite web |title=Portfolio {{!}} Who is the Faust of the 21st century? |author=Simon Hatab |date=2018 |url=https://www.operadeparis.fr/en/magazine/portfolio-who-is-the-faust-of-the-21st-century |website=operadeparis.fr}}</ref>

Three instrumental passages, the ''Marche Hongroise'' (Hungarian March), ''Ballet des sylphes'', and ''Menuet des follets'' are sometimes extracted and performed as "Three Orchestral Pieces from ''La damnation de Faust''."<ref>{{cite web | url = http://www.hberlioz.com/Scores/sdamnation.htm
| title = ''La damnation de Faust'': Three Orchestral Pieces | publisher = The Hector Berlioz Website | website = hberlioz.com | access-date = 25 October 2010}}</ref>

==Analysis==
Julian Rushton has examined the general chronology of Berlioz's composition of the work. <ref>{{cite journal | author=Julian Rushton | title=The Genesis of Berlioz's ''La Damnation de Faust'': A New View of the Composer at Work | journal=Music & Letters | volume=56 | issue=2 | pages=129-146 | date=April 1975 | doi=10.1093/ml/56.2.129}}</ref>  Kent Werth has written about Berlioz's sketches for the passage 'Invocation a la nature' and what their indications about Berlioz's working methods.<ref>{{cite journal | author=Kent W. Wirth | title='Nature immense', a Sketch from Berlioz's ''La Damnation de Faust'': A New View of the Composer at Work | journal=The Musical Quarterly | volume=74 | issue=1 | pages=57-82 |date=1990 | doi=10.1093/mq/74.1.57}}</ref>

Eric Stark has commented on Berlioz's use of the chorus to convey specific information about time, place, and visual imagery in the work.<ref>{{cite journal | jstor=23554309 | last=Stark | first=Eric | title=The Use of the Chorus to Provide Time and Place Cues in Hector Berlioz's "La Damnation de Faust" | journal=The Choral Journal | volume=43 | issue=4 | pages=85-89 | date=November 2002}}</ref>  Inge van Rij has discussed various 'technological tropes' implicit in the work. <ref>{{Cite journal | last=van Rij | first=Inge | date=November 2010 | title=Back to (the music of) the future: Aesthetics of technology in Berlioz's ''Euphonia'' and ''Damnation de Faust'' | url=https://www.cambridge.org/core/journals/cambridge-opera-journal/article/abs/back-to-the-music-of-the-future-aesthetics-of-technology-in-berliozs-euphonia-and-damnation-de-faust/220D03D7336003AE3EA74B7AB831AE3B | journal=Cambridge Opera Journal | volume=22 | issue=3 | pages=257–300 | doi=10.1017/S0954586711000255| url-access=subscription }}</ref>

==Roles==
{| class="wikitable"
|+{{sronly|Roles, voice types, premiere cast}}
!Role<ref name="score" />
![[Voice type]]<ref name ="score" />
!Premiere cast,<ref>Unless otherwise noted, {{Almanacco|dmy=06-12-1846|match=La damnation de Faust}}</ref> 6 December 1846<br />Conductor: Hector&nbsp;Berlioz
|-
|Marguerite, ''a young woman''
|[[mezzo-soprano]]
|{{ill|Hortense Duflot-Maillard|qid=Q60835706}}
|-
|Faust, ''an aging scholar''
|[[tenor]]
|[[Gustave-Hippolyte Roger]]
|-
|Méphistophélès, ''the Devil disguised as a gentleman''
| [[baritone]] or [[bass (voice type)|bass]]<ref name="score" /><ref>The role of Méphistophélès is written with variants suitable for the two voices.</ref>
|Léonard Hermann-Léon
|-
|Brander, ''a student''
|bass
|[[François-Louis Henry|Henri Descheynes]]<ref>[[D. Kern Holoman]], ''Berlioz'' (Cambridge, Massachusetts, 1989), p. 340.</ref>
|-
|Celestial Voice
| [[soprano]]
|-
|colspan="3"|''Peasants, gnomes and sylphs, soldiers and students, demons and the damned, celestial spirits''
|-
|}

==Instrumentation==
The orchestral score requires:<ref name="score" />
*3 [[Western concert flute|flute]]s (all doubling [[piccolo]]), 2 [[oboe]]s (second doubling [[English horn]]), 2 [[clarinet]]s (in C/A/B{{music|b}}), [[bass clarinet]] in B{{music|b}}, 4 [[bassoon]]s
*4 [[French horn|horn]]s (in all keys), 2 [[trumpet]]s in C/D/F, 2 [[cornet]]s in A/B{{music|b}}, 3 [[trombone]]s, 2 [[tuba]]s (originally scored for one [[ophicleide]] and one tuba)
*[[timpani]], [[snare drum]], [[bass drum]], [[cymbal]]s, [[suspended cymbal]], [[triangle (musical instrument)|triangle]], [[tamtam]], [[bell]] (sounding D, F{{music|#}}, A, or C)
*2 [[harp]]s<ref>For "Le Ciel" (the penultimate number of part IV) Berlioz requests 4 or 5 instruments per part.</ref>
*[[string section|strings]]: 15 [[violin]]s I, 15 violins II, 10 [[viola]]s, 10 [[violoncello]]s, 9 [[double bass]]es

==Synopsis==
{{Wikisource|Air of Faust}}

===Part I===
{{Listen|type=music|filename=Marche Hongroise - U.S. Marine Band.ogg|title="Marche Hongroise" (Hungarian March)|description=Played by the U.S. Marine Band in 1995 for the album ''Director's Choice'' (4:57)}}
The aging scholar Faust contemplates the renewal of nature. Hearing peasants sing and dance, he realizes that their simple happiness is something he will never experience. An army marches past in the distance (Hungarian March). Faust doesn't understand why the soldiers are so enthusiastic about glory and fame.

===Part II===
Depressed, Faust has returned to his study. Even the search for wisdom can no longer inspire him. Tired of life, he is about to commit suicide when the sound of church bells and an Easter hymn remind him of his youth, when he still had faith in religion. Suddenly Méphistophélès appears, ironically commenting on Faust's apparent conversion. He offers to take him on a journey, promising him the restoration of his youth, knowledge, and the fulfillment of all his wishes. Faust accepts.

Méphistophélès and Faust arrive at Auerbach's tavern in Leipzig, where Brander, a student, sings a song about a rat whose high life in a kitchen is ended by a dose of poison. The other guests offer an ironic "Amen", and Méphistophélès continues with another song about a flea that brings his relatives to infest a whole royal court (Song of the Flea). Disgusted by the vulgarity of it all, Faust demands to be taken somewhere else.

On a meadow by the Elbe, Méphistophélès shows Faust a dream vision of a beautiful woman named Marguerite, causing Faust to fall in love with her. He calls out her name, and Méphistophélès promises to lead Faust to her. Together with a group of students and soldiers, they enter the town where she lives.

===Part III===
Faust and Méphistophélès hide in Marguerite's room. Faust feels that he will find in her, his ideal of a pure and innocent woman ("Merci, doux crépuscule!"). Marguerite enters and sings a ballad about the King of Thule, who always remained sadly faithful to his lost love ("Autrefois, un roi de Thulé"). Méphistophélès summons spirits to enchant and deceive the girl and sings a sarcastic serenade outside her window, predicting her loss of innocence. When the spirits have vanished, Faust steps forward. Marguerite admits that she has dreamed of him, just as he has dreamed of her, and they declare their love for each other. Just then, Méphistophélès bursts in, warning them that the girl's reputation must be saved: the neighbors have learned that there is a man in Marguerite's room and have called her mother to the scene. After a hasty goodbye, Faust and Méphistophélès escape.

===Part IV===
Faust has seduced, then abandoned Marguerite, who still awaits his return ("D'amour l'ardente flamme"). She can hear soldiers and students in the distance, which reminds her of the night Faust first came to her house. But this time he is not among them.

Faust calls upon nature to cure him of his world-weariness ("Nature immense, impénétrable et fière"). Méphistophélès appears and tells him that Marguerite is in prison. While awaiting Faust's return, she has given her mother the sleeping potion Faust had previously provided to calm her mother during their nights of love, and used it so often that she has killed the old woman, and now is to be hanged the next day. Faust panics, but Méphistophélès claims he can save her—if Faust relinquishes his soul to him. Unable to think of anything but saving Marguerite, Faust agrees. The two ride off on a pair of black horses.

Thinking they are on their way to Marguerite, Faust becomes terrified when he sees demonic apparitions. The landscape becomes more and more horrible and grotesque, and Faust finally realizes that Méphistophélès has taken him directly into hell. Demons and damned spirits greet Méphistophélès in a mysterious infernal language and welcome Faust among them.

Hell has fallen silent after Faust's arrival—the torment he suffers is unspeakable. Marguerite is saved and welcomed into heaven.

==Selected discography==
The following selected discography of the work presents the vocal performers in the order: Faust, Marguerite, Méphistophélès, Brander.  The singer of the Celestial Voice is included afterwards where information is available.

<poem>
David Poleri, [[Suzanne Danco]], [[Martial Singher]], [[Donald Gramm]], [[McHenry Boatwright]]
[[Boston Symphony Orchestra]], [[Harvard Glee Club]], [[Radcliffe Choral Society]]
Conductor: [[Charles Munch (conductor)|Charles Munch]]
Recorded: 21–22 February 1954, [[Symphony Hall, Boston]] 
Label: [[RCA Red Seal Records]] LM 6114 (original mono LP set)

[[Richard Verreau]], Consuelo Rubio, [[Michel Roux (baritone)|Michel Roux]], [[Pierre Mollet]]
Lamoureux Concert Association Orchestra, Chorale Élisabeth Brasseur
Conductor: [[Igor Markevitch]]
Recorded: Salle de la Mutualité, Paris, May 1959
Label: [[Deutsche Grammophon]] 138 099 (stereo LP set)<ref>{{cite web | author=John Quinn | title=Hector Berlioz: ''La damnation de Faust'' (review of Deutsche Grammophon 483 6377 CD/BD-A) | url=http://musicweb-international.com/classrev/2019/Jun/Berlioz_Faust_4836377.htm | work=MusicWeb International | date=June 2019 | access-date=2025-01-06}}</ref>

[[Nicolai Gedda]], [[Janet Baker]], [[Gabriel Bacquier]], Pierre Thau, Maria Peronne
[[Orchestre de Paris]], Choeurs du [[Paris Opera|Théâtre National de l'Opéra]]
Conductor: [[Georges Prêtre]]
Recorded: October 1969, [[Salle Wagram]], Paris
Label: [[EMI Classics]] HMV SLS 947/2<ref>{{cite web | author=Robert Hugill | title=Hector Berlioz: ''La damnation de Faust'' (review of EMI Classics  3814932, CD reissue) | url=http://www.musicweb-international.com/classrev/2008/sept08/Berlioz_3814932.htm | work=MusicWeb International | date=September 2008 | access-date=2025-01-06}}</ref>

Nicolai Gedda, [[Josephine Veasey]], [[Jules Bastin]], [[Richard Van Allan]], [[Gillian Knight]]
[[London Symphony Orchestra]] and [[London Symphony Chorus|Chorus]], Ambrosian Singers and [[Wandsworth School Boys' Choir]]
Conductor: [[Colin Davis]]
Recorded: Wembley Town Hall, July 1973
Label: Philips 6703 042

Stuart Burrows, Donald McIntyre, [[Edith Mathis]], Thomas Paul
[[Boston Symphony Orchestra]], Tanglewood Festival Chorus, Boston Boy Choir
Conductor: [[Seiji Ozawa]]
Label: Deutsche Grammophon 2709 048 (1974)<ref>{{cite web | author=Dave Billinge | title=Hector Berlioz: ''La damnation de Faust'' (review of Pentatone PTC5186212 SACD) | url=http://www.musicweb-international.com/classrev/2015/Mar/Berlioz_Faust_PTC5186212.htm | work=MusicWeb International | date=March 2015 | access-date=2025-01-06}}</ref>

[[Kenneth Riegel]], [[Frederica von Stade]], [[José van Dam]], Malcolm King
[[Chicago Symphony Orchestra]] and [[Chicago Symphony Chorus|Chorus]]
Conductor: Sir [[Georg Solti]]
Recorded: May 1981, [[Medinah Temple]], Chicago
Label: [[Decca Records|Decca]] / [[London Records|London]] 289 483-311-3

Dénes Gulyás, [[Maria Ewing]], Robert Lloyd, Manfred Volz
Radio-Sinfonie-Orchester Frankfurt, Kölner Rundfundchor, Südfunkchor Stuttgart, Chor des NDR Hamburg
Conductor: [[Eliahu Inbal]]
Label: Denon 81757 9200 2 (1991)<ref>{{cite web | author=John Quinn | title=Hector Berlioz: ''La damnation de Faust'' (review of Brilliant Classics 94391) | url=http://www.musicweb-international.com/classrev/2013/July13/Berlioz_Damnation_94391.htm | work=MusicWeb International | date=July 2013 | access-date=2025-01-06}}</ref>

Michael Myers, Anne Sofie von Otter, Jean-Philippe Lafont, René Schirrer
Orchestre de l'Opéra de Lyon, Edinburgh Festival Chorus
Conductor: Sir [[John Eliot Gardiner]]
Label: Philips 289 426-199-2 (1989)

[[Thomas Moser]], [[Susan Graham]], [[José van Dam]], Frédéric Caton
Lyon Opera Orchestra and Chorus
Conductor: [[Kent Nagano]]
Audio CD (7 August 1995)
Label: [[Warner Classics]] UK / [[Erato Records|Erato]] 0630-10692-2

[[André Turp]], [[Régine Crespin]], Michel Roux, [[John Shirley-Quirk]]
[[London Symphony Orchestra]] and [[London Symphony Chorus|Chorus]]
Conducted by [[Pierre Monteux]]
Recorded: [[Royal Festival Hall]], 8 March 1962 (live performance)
Label: BBC Legends BBCL 40062 (1998 CD issue)

Keith Lewis, [[Anne Sofie von Otter]], [[Bryn Terfel]], [[Victor von Halem]]
[[Philharmonia Orchestra]] and [[Philharmonia Chorus|Chorus]]
Conducted by [[Myung-Whun Chung]]
Audio CD (11 August 1998)
Label: [[Deutsche Grammophon]] 289 453-500-2

Michael Myers, Marie-Ange Todorovitch, Alain Vernhes, René Schirrer
Orchestre National de Lille, Slovak Philharmonic Choir
Conductor: Jean-Claude Casadesus
Label: Naxos 8.660116-17 (2006)<ref>{{cite web | author=Robert Hugill | title=Hector Berlioz: ''La damnation de Faust'' (review of Naxos 8.660116-17) | url=http://www.musicweb-international.com/classrev/2006/aug06/Berlioz_Damnation_8660116.htm | work=MusicWeb International | date=March 2015 | access-date=2025-01-06}}</ref>

Vinson Cole, Charlotte Margiono, [[Thomas Quasthoff]], Jaco Huijpen
[[Radio Filharmonisch Orkest]], Groot Omroepkoor
Conductor: [[Bernard Haitink]]
Label: Challenge Classics CC72517 (live recording from 1999; commercial release in 2011)<ref>{{cite web | author=Dominy Clements | title=Hector Berlioz: ''La damnation de Faust'' (review of Challenge Classics CC72517) | url=http://www.musicweb-international.com/classrev/2011/July11/Berlioz_Faust_CC72517.htm | work=MusicWeb International | date=March 2015 | access-date=2025-01-06}}</ref>

Marcello Giordani, José van Dam, Katarina Dalayman, Roderick Earle
Münchner Philharmoniker, Philharmonischer Chor München
Conductor: James Levine
Label: Münchner Philharmoniker 0793052112707 (2018)

[[Bryan Hymel]], [[Karen Cargill]], [[Christopher Purves]], Gábor Bretz
[[London Symphony Orchestra]] and [[London Symphony Chorus|Chorus]]
Conductor: [[Sir Simon Rattle]]
Hybrid SACD (8 March 2019)
Label: LSO Live LSO0809<ref>{{cite web | author=Robert Cummings | title=Hector Berlioz: ''La damnation de Faust'' (review of LSO LIVE LSO0809) | url=http://www.musicweb-international.com/classrev/2019/Jun/Berlioz_Faust_LSO0809.htm | work=MusicWeb International | date=June 2019 | access-date=2025-01-06}}</ref>

[[Michael Spyres]], [[Joyce DiDonato]], [[Nicolas Courjal]], Alexandre Duhamel
[[Orchestre philharmonique de Strasbourg]], Les Petits Chanteurs de Strasbourg, Maitrise de l'[[Opéra national du Rhin]]
Conductor: [[John Nelson (conductor)|John Nelson]] 
Recorded: 25–27 April 2019
Label: Erato/Warner Classics 0190295417352
</poem>

==Parodies==
* The piece "L'Éléphant" (The Elephant) from [[Camille Saint-Saëns]]'s ''[[The Carnival of the Animals]]'' (1886) uses a theme from the "Danse des sylphes", played on a double bass.

==References==
{{Reflist|30em}}

== External links ==
* {{IMSLP|work=La damnation de Faust, H 111 (Berlioz, Hector)|cname=''La Damnation de Faust''}}
* {{in lang|fr}} [http://www.hberlioz.com/Libretti/Damnation.htm Libretto], hberlioz.com
* [http://barzuncentennial.murphywong.net/jbhbdf.html On Berlioz's ''Damnation of Faust''] by [[Jacques Barzun]]. Special Disc Jockey pressing recorded Autumn 1954
* [http://www.medici.tv/#!/tugan-sokhiev-la-damnation-de-faust-berlioz-musikverein-wien ''La damnation de Faust'' 22. Februar – medici.TV] – Orchestre National du Capitole – [[Wiener Singverein]] – [[Tugan Sokhiev]]

{{Berlioz compositions}}
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{{DEFAULTSORT:Damnation De Faust, La}}
[[Category:1846 operas]]
[[Category:Operas based on Goethe's Faust]]
[[Category:Choral compositions by Hector Berlioz]]
[[Category:Operas by Hector Berlioz]]
[[Category:French-language operas]]
[[Category:Opera world premieres at the Opéra-Comique]]
[[Category:Operas set in Hungary]]
[[Category:Operas]]
[[Category:The Devil in opera]]
[[Category:Opera oratorios]]