Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

OPERA TODAY ARCHIVES »

Reviews

Vittorio Grigolo as Faust [Photo by Catherine Ashmore courtesy of Royal Opera House]
28 Sep 2011

Faust, Royal Opera House

When the Royal Opera House London does things well, it does them very well indeed. This Gounod’s Faust was a sizzler!

Charles Gounod: Faust

Faust: Vittorio Grigolo; René Pape: Méphistophélès; Marguerite: Angela Gheorghiu; Wagner: David Grice; Valentin: Dmitri Hvorostovsky; Siébel: Michèle Losier; Marthe Schwertlein: Carole Wilson; Orchestra and Chorus of the Royal Opera House. Conductor: Evelino Pidò. Director: David McVicar. Revival Director: Lee Blakeley. Set Designs: Charles Edwards. Costume Designs: Brigette Reifenstuel. Lighting designs: Paule Constable. Choreography: Michael Keegan-Dolan. Revival Choreographer: Daphne Strothmann. Royal Opera House, London.

Above: Vittorio Grigolo as Faust

All photos by Catherine Ashmore courtesy of Royal Opera House

 

A stellar cast — Angela Gheorghiu, Vittorio Grigolo, René Pape and Dmitri Hvorostovsky — made this a sense of occasion, although the production, by David McVicar, was first seen in 2004. The performance worked well because there was good integration of all elements that contribute towards operatic experience — singing, staging, acting and orchestra. Following on from the superb Puccini Il trittico (reviewed here), it made for a spectacular start to the 2011/2 season at the Royal Opera House, London.

McVicar himself wasn’t present, but revival director Lee Blakely must have inspired the cast, for they were singing with great panache. Perhaps a little too much at times, for both Gheorghiu and Grigolo threw themselves so passionately into their parts that at times, there were weaknesses. But better this enthusiasm than technically note-perfect and dull. Faust and Marguerite don’t have Méphistophélès’s demonic powers, but they beat him in the end.

Faust_ROH_2011_02.pngRené Pape as Méphistofèlés

It was touching to see how genuinely happy Gheorghiu seemed to be when she comes upon the jewel box and forgets the studied froideur, with which she sang “The Song of the King of Thule.” If her diction wavers, it’s not entirely out of context. Gheorghiu’s Marguerite, despite the unflattering blonde wig, is sympathetic. Faust’s sacrificing love becomes altogether plausible.

Faust stretches Vittorio Grigolo vocally, but he compensates with expressive acting. His bright, exuberant timbre creates a Faust who’s hypnotized by the excitement of being young, a junkie to the thrill of new sensations. Thus he fits well with René Pape’s suave Méphistophélès. This opera is as much about social values as metaphysical struggle, so Pape’s sophisticated “French” urbanity may indeed be preferable. The humour in the plot, and the dogged cheerfulness in much of the orchestral writing indicates a lighter touch than obvious melodramatic malevolence.

Gounod’s long sequences for ballet are integral to the opera because, like the mercurial scene changes, they add sparkling wit. The witches in Walpurgis Night aren’t ugly crones but seductive ballerinas, who in this production have an orgy with the male patrons of the ballet. Just as Faust is tempted by sex, and Méphistophélès is repelled by Marthe (Carole Wilson)’s generous offer, so were audiences in Gounod’s time titilliated by tutus and dancers of easy virtue. These “witches” are free spirits of nature. Margeurite and Faust do what comes naturally. When Méphistophélès sings about “Reines de beauté, de l’antiquité”, Pape wears a woman’s black gown. Perhaps the reference is to Ortrud and her ancient gods, but more likely it connects to Goethe’s Eternal Feminine, temporarily usurped by Satan.

Faust_ROH_2011_03.pngAngela Gheorghiu as Marguérite

Hence the creation of Siébel as trouser role (Michèle Losier,). Nothing is quite what it appears to be in this moral universe. Even the “sculpture” in the church turns out to be Méphistophélès in a marble-coloured cape.

There’s a similar logic to Gounod’s emphasis on the military.context. It’s great theatre and the rousing march “Gloire immortelle” is justly famous. It expands the part of Valentin, Marguerite’s brother, for he symbolizes the moral force that stand up to Méphistophélè’s sensual wiles. Dmitri Hvorostovsky is luxury casting, and his big arias, especially the curse, were superbly dramatic. In this production, he also has to act a lot, both in the sword scenes and in the ballet, where now he’s one of the undead, and is tempted. Macabrely, by the dancers. Perhaps Valentin doesn’t have to be.young, but Valentin’s naivety is so much a part of the role that we should cherish Hvorostovsky while we can.

Stage designs, by Charles Edwards are sumptuous, but as usual, his designs “act” amplifying themes in the drama. Town transforms to church then to the Harz mountains and to the Théâtre Lyrique, as mercurially as Méphistophélès can transport Faust through time and place. Spartan gloom to gorgeous luxury to desolation, like Faust’s life. Marguerite’s redemption seems even more miraculous. There’s no need to lift her up to the ceiling. Gheorghiu lies still, lit in pristine simplicity.

So much in this opera depends on the orchestra and the choruses, and this we had in abundance. Evelino Pidò first conducted at the Royal Opera House in 1993, His experience and focus pulled all the elements of the performance together extremely well.

For more information, please see the Royal Opera House website.

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):