I'm feeling lazy, so why write the same review twice - I previously posted this to rec.music.opera...
An early revival of the production from June of this year, then starring Meatloaf and the Lasagnes, and with tickets unavailable for love nor money, this time not starring stellar names, and tickets easy to come by.
The cast was: Piotr Beczala (Faust), John Tomlinson (Mephistopheles), Elena Kelessidi (Marguerite), Dalibor Jenis (Valentin) and Katija Dragojevic (Siebel); c/d Maurizio Benini.
Having watched the original on the TV - which was discussed at some length back in June - I knew what to expect from the production, but felt it looked far more impressive in real life. My absolutely favourite bit was the ballet, but I'm allowed to say that, because I'm a girly.
The music throughout was glorious and I've just elevated it into my Top Ten.
I really liked the rapid switch in emotions. There were moments when I was halfway through a giggle and felt a lump in my throat; or a tear was about to fall, when I just had to laugh.
Performances. Well, Piotr Beczala was...interesting. For the first two and a half acts, I was not much taken with his voice. Nothing wrong per se, but it sounded to me very forced at the top, a bit like those old singers on old 78s that my father used to play ;-) Not my taste. I can't really explain how the Salut Demeure sounded - predominantly almost falsetto, but not, and certainly not like a counter-tenor.
And then, his voice seemed to change, and I found myself really getting to like it through the remaining two-and-a-half acts. Far more resonance and colour and depth. And he moved well round stage, looked fine in body and face (not celebrity crush material but aesthetically acceptable)
He's back in Rigoletto (alongside Paolo Gavanelli and Anna Netrebko) next July, alternating with Rolando Villazon. Rolando (with Dmitri Hvorostovsky and Ekaterina Siurina) would still be my first choice, but any disappointment in seeing Piotr would be because it would probably mean I hadn't been able to get tickets for Rolando.
I couldn't find fault with John Tomlinson, but I found him rather
disappointing. The only newspaper review I read highly praised him. A good performance, singing and acting, solid, but without, IMO, bringing anything remarkable to it.
Elena Kelessidi was forgettable. At times there was some beauty in her voice but there were far more times when notes seemed to be missing, like somebody's handled a dodgy cassette, which I found unsettling. I didn't really feel that there was much going on in the acting department.
Dalibor Jenis was a non-event, and even received a boo from someone a couple of rows behind. I think that was uncalled for, but he just sang the songs fair-to-middling and made the moves.
I really liked Katija Dragojevic. Singing, good, acting better.
And just to add a few observations.
I walked into the amphitheatre bar and the barman greeted me. When he took my interval order, he didn't ask my name - just wrote it down. slinks away in embarrasment
I'm not sure what was going onto the left of me but we seemed to have been invaded by the Incredible Talking Person, who obviously misunderstood the relative quiet of the opening prelude as a good opportunity to finish her conversation without being drowned out by the pesky orchestra. Until a very sharp and penetrating "sshh-ssshh' from an ex-Sergeant Major/minor public school master caused the relief of all around.
She turned into the Incredible Paper Rustling Person at the start of Act 5, leaving the right hand end of the central bank of Rows of S and T in convulsions of silent giggles, giggles increased when she shone her torch (or phone?) to aid in her paper rustling.
After the performance I walked along Long Acre. Well, apart from the bit where I entirely failed to spot a lurking kerb-stone, which sent me arse over tit crashing head first to the ground. Mainly wounded pride, but a grazy hurty knee which was stiff this morning, and a general jarred-feeling. the couple walking to my right and slightly behind checked I was okay. I thanked them. As my cheeks burned red with humiliation...
I really really like the music and story of Faust.
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