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Like many masters of Romanticism, Berlioz was inevitably attracted to Goethe's Faust. The Huit scènes de Faust dates back to 1829, a first musical guise of the myth which, however, did not leave the author satisfied and was withdrawn from the stage. But after several years, in 1845, those discarded materials were resumed and reworked to give life to La damnation de Faust - an opera in concert form or, as Berlioz called it, a 'dramatic legend' in four parts for solos, choir and orchestra - which made its debut at the Opéra-Comique on December 6, 1846. Thanks to its particular nature as a non-stage opera, La damnation de Faust is based on an innovative dramaturgical structure: twenty scenes conceived as autonomous tableaux in which the author passes from one form to another with extreme freedom, from the solo moments of the protagonists, to the many ensemble numbers, from choral scenes to long purely orchestral pieces. And even the literary source itself is treated freely; In fact, Berlioz uses only some parts of the novel and, unlike Goethe, chooses to conclude his reading of the myth by condemning Faust to the pains of hell with an act of extreme pessimism in pure romantic style.