Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

POP Butterfly: Oooh, Cho-Cho San!

I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.

The Maryland Opera Studio Defies Genre with Fascinating Double-Bill

This past weekend, the Maryland Opera Studio (MOS) presented a double-billed performance of two of Kurt Weill’s less familiar staged works: Zaubernacht (1922) and Mahagonny-Songspiel (1927).

Nash Ensemble at Wigmore Hall: Focus on Sir Harrison Birtwistle

The Nash Ensemble’s annual contemporary music showcase focused on the work of Sir Harrison Birtwistle, a composer with whom the group has enjoyed a long and close association. Three of the six works by Birtwistle performed here were commissioned by the Nash Ensemble, as was Elliott Carter’s Mosaic which, alongside Oliver Knussen’s Study for ‘Metamorphosis’ for solo bassoon, completed a programme was intimate and intricate, somehow both elusive in spirit and richly communicative.

McVicar's Faust returns to the ROH

To lose one Marguerite may be regarded as a misfortune; to lose two looks like carelessness. But, with the ROH Gounod’s Faust seemingly heading for ruin, salvation came in the form of an eleventh-hour arrival of a redeeming ‘angel’.

A superb Semele from the English Concert at the Barbican Hall

It’s good to aim high … but be careful what you wish for. Clichéd idioms perhaps, but also wise words which Semele would have been wise to heed.

A performance of Vivaldi's La Senna festeggiante by Arcangelo

In 1726 on 25 August, Jacques-Vincent Languet, Comte de Gergy, the new French ambassador to the Venetian Republic held a celebration for the name day of King Louis XV of France. There was a new piece of music performed in the loggia at the foot of Languet's garden with an audience of diplomats and, watching from gondolas, Venetian nobles.

Matthew Rose and Tom Poster at Wigmore Hall

An interesting and thoughtfully-composed programme this, presented at Wigmore Hall by bass Matthew Rose and pianist Tom Poster, and one in which music for solo piano ensured that the diverse programme cohered.

Ekaterina Semenchuk sings Glinka and Tchaikovsky

To the Wigmore Hall for an evening of magnificently old-school vocal performance from Ekaterina Semenchuk. It was very much her evening, rather than that of her pianist, Semyon Skigin, though he had his moments, especially earlier on.

Hubert Parry's Judith at the Royal Festival Hall

Caravaggio’s depiction (1598-99) of the climactic moment when the young, beautiful, physically weak Judith seizes the head of Holofernes by the enemy general’s hair and, flinching with distaste, cleaves the neck of the occupying Assyrian with his own sword, evokes Holofernes’ terror with visceral precision - eyes and screaming mouth are wide open - and is shockingly theatrical, the starkly lit figures embraced by blackness.

La Pietà in Rome

Say "La Pietà" and you think immediately of Michelangelo’s Rome Pietà. Just now Roman Oscar-winning film composer Nicola Piovani has asked us to contemplate two additional Pietà’s in Rome, a mother whose son is dead by overdose, and a mother whose son starved to death.

Matthias Goerne: Schumann – Liederkreis, op 24 & Kernerlieder

New from Harmonia Mundi, Matthias Goerne and Lief Ove Andsnes: Robert Schumann – Liederkreis, op 24 and Kernerlieder. Goerne and Andsnes have a partnership based on many years of working together, which makes this new release, originally recorded in late 2018, well worth hearing.

Orfeo ed Euridice in Rome

No wrecked motorcycle (director Harry Kupfer’s 1987 Berlin Orfeo), no wrecked Citroen and black hearse (David Alagna’s 2008 Montpellier Orfée [yes! tenorissimo Roberto Alagna was the Orfée]), no famed ballet company (the Joffrey Ballet) starring in L.A. Opera’s 2018 Orpheus and Eurydice).

Jack the Ripper: The Women of Whitechapel - a world premiere at English National Opera

Jack the Ripper is as luridly fascinating today as he was over a century ago, so it was no doubt sensationalist of the marketing department of English National Opera to put the Victorian serial killer’s name first and the true subject of Iain Bell’s new opera - his victims, the women of Whitechapel - as something of an after-thought. Font size matters, especially if it’s to sell tickets.

Tosca at the Met


The 1917 Met Tosca production hung around for 50 years, bested by the 1925 San Francisco Opera production that lived to the ripe old age of 92.  The current Met production is just 2 years old but has the feel of something that can live forever.

Drama Queens and Divas at the ROH: Handel's Berenice

A war ‘between love and politics’: so librettist Antonio Salvi summarised the conflict at the heart of Handel’s 1737 opera, Berenice. Well, we’ve had a surfeit of warring politics of late, but there’s been little love lost between opposing factions, and the laughs that director Adele Thomas and her team supply in this satirical and spicy production at the ROH’s stunningly re-designed Linbury Theatre have been in severely short supply.

Mozart’s Mass in C minor at the Royal Festival Hall

A strange concert, this, in that, although chorally conceived, it proved strongest in the performance of Schumann’s Piano Concerto: not so much a comment on the choral singing as on the conducting of Dan Ludford-Thomas.

Samson et Dalila at the Met


It was the final performance of the premiere season of Darko Tresnjak’s production of Camille Saint-Saëns' Samson et Dalila. Four tenors later. 

The Enchantresse and Dido and Aeneas
in Lyon

Dido and Aeneas, Il ritorno d’Ulisse and Tchaikowsky’s L’Enchantresse, the three operas of the Opéra de Lyon’s annual late March festival all tease destiny. But far more striking than the thematic relationship that motivates this 2019 festival is the derivation of these three productions from the world of hyper-refined theater, far flung hyper-refined theater.

The devil shares the good tunes: Chelsea Opera Group's Mefistofele

Every man ‘who burns with a thirst for knowledge and life and with curiosity about the nature of good and evil is Faust ... [everyone] who aspires to the Unknown, to the Ideal, is Faust’.

La forza del destino at Covent Garden

Prima la music, poi la parole? It’s the perennial operatic conundrum which has exercised composers from Monteverdi, to Salieri, to Strauss. But, on this occasion we were reminded that sometimes the answer is a simple one: Non, prima le voci!

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):