Abstract:This research aims to present an analysis about the "Sublime" and the "Horrible" in Faust: a tragedy -first part (1808), by Johann Wolfgang von Goethe, and Mefistofele (1868), opera by Arrigo Boito ba...This research aims to present an analysis about the "Sublime" and the "Horrible" in Faust: a tragedy -first part (1808), by Johann Wolfgang von Goethe, and Mefistofele (1868), opera by Arrigo Boito based on the German tragedy."Sublime" is the term that the composer uses to define the divine scene of the Prologue in Heaven, both in tragedy and opera; On the other hand, the "Horrible" is used to categorize the Night of the Romantic Sabbath, based on the Walpurgis Night from Goethe's tragedy, where devilish creatures gather to worship Satan.Boito uses these terms as two extremely opposed points of a wind rose in order to describe Goethe's Faust and, consequently, to conceive his opera, the only memorable Italian composition about the Faust.In order to develop this analysis, the research starts with an investigation about the legend of Doctor Faustus, considering the historical figure that inspires it, Georgius Sabellicus, and the two main publications about the legend in the sixteenth century, the anonymous author's book, published in 1587, and Christopher Marlowe's tragedy, written in 1592.Then, an analysis about Goethe's Faust is presented, followed by the main musical compositions inspired by the tragedy and other versions of the legend, besides Goethe's ideas for an ideal opera for his Faust.Posteriorly, Arrigo Boito's position in the Italian bohemian movement, Scapigliatura, is discussed, considering his journey as a composer, librettist, translator and art criticist.Then, it is presented his conception for Mefistofele and his efforts to compose a work that would unite, in perfect harmony, music, poetry and scene.Finally, the two scenes that mostly present the "sublime" and "horrible" aspects are analyzed, considering the textual, musical and scenic aspects.This analysis focuses on the investigation of the following material: the libretto from 1868, compared to the revision from 1875 and 1879; the musical scores published between 1880 and 1920; and five video recordings of the opera presented between 1989 and 2015, set following traditional ideas, that evoke the composer's directions and Goethe's work itself, and modern ones, developed on the stage director's ideas, that allow themselves to change the narrative, rethinking the set, leaving the medieval scenario proposed in the first conception of the opera.Read More