In previous versions of the Faust story, including Goethe's, the particulars changed, but not the broad outlines. In Berlioz's Faust, the hero goes to Hell, eternally damned. On one level, he sacrifices himself because he wants to save his beloved Marguerite. On the other, less noble level, he winds up in Hell because he, like so many of us, neglected to read the fine print of a contract. Yes, he should have been more suspicious—the spooky-looking stranger is named Méphistophélès, for pity's sake—but then again, you'd think a heroine worthy of music as sublime as Marguerite's two arias wouldn't be so idiotic as to accidentally poison her mother. It's better not to delve too deeply into these logical inconsistencies. As W. H. Auden famously noted, “No opera plot can be sensible, for people do not sing when they are feeling sensible.”
LOUISVILLE, Ky. (AP) — After seven deaths raised questions about the future of horse racing, Mage earned a surprising Kentucky Derby victory on Saturday, capping a nerve-rattling day that included two more fatalities ahead of the 149th edition of the world’s most famous race. Mage, a 15-1 shot, had only one win in his career, [...]
BETH HARRIS, Associated Press
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