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The image of Mephistopheles is a drama honors a special place. He is the antithesis towards lyrical opera. Gounod Mephistopheles for the source image bright contrasts in stage and musical drama of the opera. His appearance in the prologue and dialogue with Faust-tie drama, based on the juxtaposition of doubt, confusion and irony Faust Mephistopheles.
In the first act couplets Mephistopheles with their scathing sarcasm contrast with the lively and colorful scene of the fair, humorous drinking song Wagner, "Was the light of a mouse". In the second act - a quartet, and then in the aria of Mephistopheles - it ironic chivalry in relation to Martha contrasted lyrical directness duo Marguerite and Faust.
Act III, Serenade and the scene with Margaret in front of the temple - the culmination of the development of the image of Mephistopheles. For his performance Gounod uses a completely new genre and musical style means. Conventional operatic forms - songs, serenade, Arioso (third act) - are presented in exaggerated, grotesque refraction, declamatory style, the special role of orchestral accompaniment helps to pass the outer and gallantry, and devilish cunning, and demonic power of Mephistopheles.
In the scene of the prologue highlights the fundamental quality of Mephistopheles - a combination of chivalry and irony. At the time of the appearance of Mephistopheles, a dramatic tonal shift from F major to B major far, followed by a tough as strike chord. In the vocal part of Mephistopheles subtly insinuating that it has given speeches, the indignation and anger. Gounod achieved a rare fusion of music and text in the transfer of living intonations of human speech.
Couplets of the first act - the most complete characterization of Mephistopheles. "Squealing" phrases
Violins, "slipping" middle voice in the background of a tonic pedal point in the bass, staccato chords - all this underlines the sarcastic sense of couplets. Conversation feature is their distinctive combination of style features drinking song, "impetuous tarantella, which allows the composer exaggerate the characteristics of the image.
In a small aria Mephistopheles in Gounod's second action uses the technique of simultaneous contrast contrasting vocal and orchestral parties "Lulling" the orchestral accompaniment, harmonic turns, resists mesmerizing recitation
Mephistopheles, based on multiple repetitions of a sound.
This contrasted contrasting vocal and orchestral parties helps reveal the meaning of Gounod's Mephistopheles, conjure flowers"  аnd you, the flowers, their fragrant subtle poison to poison the air