Leroux was liberal in adapting the Nilsson-Carvalho rivalry. Although in 1868-69 Nilsson was younger and less experienced than Miolan-Carvalho (for whom the role of Marguerite had been written ten years earlier), she was already a well-known operatic star in Paris. As for the production run of Faust, it was in reality an awkward experience for Nilsson, who received mixed reviews. [2]
