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The second act of the opera occupies a central place in its dramatic conception. It is the culmination of the lyrical line of the opera - a duet of Faust and Marguerite. Here, the most organic combination of the principle of "through" scenic and musical development, with a gradual and steady rise to a climax - and separate enclosed rooms that are complete musical portraits of the heroes of the opera - Faust, Marguerite.
Cavatina of Faust - the most brilliant and solid description of his music.
Orchestral accompaniment helps create an atmosphere of nocturnal nature, thrilling expectations.
In the third part cavatina is like a kind of interpenetration of musical images Marguerite and Faust, this part is contemplative and enlightened nature characteristic appearance Margarita.
In the immediate vicinity of the cavatina Faust are two musical portraits of Margaret - a ballad about the King and "aria with pearls." This is due; perhaps, a desire not to oppose the composer, and reconcile these two images both lyrical while retaining the individual characteristics of each. In a scene that combines a ballad and aria, Marguerite image reveals quite a multifaceted, diverse, and in development - from an unconscious desire to shy joyous rapture broke out feeling.
In the ballad about the King faithfully transferred to trust and emotional sincerity of Margaret. In the recitative ligaments separating the episodes to conclude the basic psychological meaning of this number, as the contrast between recitatives and transmits the ballad emerged, but carefully concealed feelings for Margaret Faust.
Contrast arias in relation to the ballad underscored not only the fastest moving, but, more importantly, the nature of the vocals, rich in coloratura passages, all kinds of ornaments, as well as transparent orchestral accompaniment that amplify
Culminating point in the development of images of Marguerite and Faust, and consequently   аnd  the lyrical line work - the duo of Margaret and Faust's second act. He is one of the most inspired pages of the opera. Built in the compositional ratio fairly easily (you can identify it suspended three large sections), it reveals the inner world of characters with great depth and subtlety.
The first section of ecstasy seized in nature and a sense of Margarita passed similar to cavatina stylistic means of Faust (romance turns melodies, chord accompaniment level, meter and rhythm of waltz.
In a somewhat modified form here sounds theme colors spell "first appeared in the orchestral accompaniment Mephistopheles aria from the same action.
Remarkable unity and integrity of the whole scene Gounod cutting up the music development, which is combined with a change of scenes, expressing different emotions at graduation characters (from a shy, timid to the eager, impetuous) With organically woven into the scene before sounded so (in the form of reminiscences, or symphonies expanded the plan).
On the verge of the second and third acts of the opera is a radical change in the lives and relationships the main characters. This is reflected already in the orchestral introduction to the third act aria and Margarita "for the distaff".