Zipping through the operas alphabetically (if 'zipping' is synonymous with 'plodding'...)
I have a version of Gounod's Faust on DVD, transferred from a video-off-the-telly from three years ago. I have even tried uploading it to Rapidshare for wider enjoyment but for some reason I am incapable of producing discs suitable for uploading despite enormous amounts of helpful suggestions from numerous kind people.
I saw this production when it was revived a few months later with a less-than-starry cast, and my insightful review fully reflecting the subtleties and nuances of every aspect of the opera is available to be read.
The opening run had a very starry cast: Roberto Alagna, Angela Gheorghiu, Bryn Terfel, Simon Keenlyside, Sophie Koch and Della Jones. It really ought to be released on commercial DVD, but it hasn't been and rumour is that Roberto Alagna has stonewalled on his fee, which I think is euphemism for 'vetoed it because he looks a prat'.
I find this a very accessible opera, both musically and dramatic, and it is a crying shame that the fabulous production by David McVicar is not available to the general public, otherwise I would definitely put it into my category of 'excellent introduction to opera for a newbie'. The story is legendary; the opera is based upon Goethe's drama. Even ignorami like me are aware of the concept of the Faustian pact of selling one's soul to the devil - for the promise of a return to youth. The opera is almost a text-book example of how Grand Opera ought to have been written. I read somewhere that at one stage, it was the most performed opera worldwide, although there are people nowadays who look down on it as being a trivial work, an attitude I don't understand - perhaps because it contains too many bloody good tunes and is too damn entertaining. The tunes are tuneful, hummable and well harmonised and orchestrated. The characters come over as more than mere cardboard caricatures. Although, obviously, fictional, the story is paradoxically credible.
The opera begins with the overture, accompanied by a vision of Faust (Roberto Alagna) staggering round like an old man, and glimpses of Mephistopheles (Bryn Terfel) lurking, plus a ballet couple who symbolise the youth that Faust doesn't have...yet.
It opens, really, with a great tenor aria, followed by the arrival of Mephistopheles (henceforth Mephisto, or Meph, or Bryn, because it's too difficult to spell) dressed in brown - trousers, great coat, waistcoat and hat, resembling a Cavalier. The aria becomes a duet and Faust enters into a er, Faustian pact with the Devil (aka Mephisto/Meph/Bryn). In a chest, with a mirror surrounded by lightbulbs, starlet style, Roberto becomes young again, and cartwheels across stage bringing the duet to a rousing climax.
The next highlight is Simon "Shirtless" Keenlyside, fullly clothed, cast as Valentin, singing Avant de quitter (he's about to go off to war). This is a justifiably famous aria and is the reason why Valentin, not actually that big a part absolutely requires a top-drawer singer.
As the soldiers party as they prepare to go off to war, Meph is sighted in a fancy silver and red cloak, which he changes into an evening suit for the Cabaret L'Enfer, complete with Dancing Girls. By this point, Faust is mirroring his outfit.
We then have another famous aria Salut demeure chaste et pure, another aria familiar to anybody who has ever bought a tenor aria compilation. I don't think that Roberto sounds at all appealing in this; he is far too strained, and he looks it. Also, he seems to step out of character because *THIS IS A BIG ARIA*. He certainly is master of the embarrassed inane grin. He wanders wildly off-pitch, although the discrete cough at one point, followed by a distinct Frog later may be the explanation...the hazard of live performances being captured for ever from people;s TV.
Act I is intimate, Act II is full of crowds and choruses, and in Act II once again we have intimacy, particularly the love scene between Faust and Margarita (spied on by Mephisto, now dressed in a blue army uniform). If you don't look too closely you could almost believe there is on-screen/stage chemistry between Roberto Alagna and Angela Gheorghiu. Although Roberto shows a distinct lack of passion in the O Nuit d'amour, which performed well, is an outstandingly gorgeous duet. Fortunately, I do have a good version on CD, but not featuring Roberto Alagna, nor Angela Gheorghiu for that matter.
In Act IV Marguerita goes to church to pray for forgiveness. Amidst the liturgical music, Mephisto, dressed in priestly garb, arrives and tells her that her prayers are in vain; hell beckons. And we discover that it is Faust playing the organ. Bare-chested men dance in the background (symbolic of the hell that Marguerita might find herself in...?).
We then switch to The Soldiers Chorus, of the soldiers returned from war, another classic standard of upmarket compilation CDs. And a stonking good chorus it is, too. Included in their number is Valentin, who meets up with Siebel (the young disabled Trousers' Role character who has a massive crush on Marguerita and vowed to look after her in Valentin's absence). He pleads in vain for Valentin not to go to his sister's house. When he reaches there, he gets involved in a sword fight with Faust, who has abandoned Marguerita to her shame. Faust injures him, Mephisto finishes the job off with barely concealed contempt. By now, Roberto's evening suit is tie-less and with the collar unfastened). It is a very tragic moment in the opera, because despite the fact that Valentin, played by Simon Keenlyside is bleeding to death from a fatal chest wound, he never gets the opportunity to remove his shirt, which is,frankly, shocking. And, of course, is another Great Operatic Failure to Apply Basic First Aid moment.
Act V opens with Mephisto attending the Walpurgisnacht Ballet, whilst Marguerita languishes in jail for the murder of her illegitimate child. I can't help but notice at this point how Wagnerian the music is. Roberto has now lost his jacket and waistcoat and his shirt is untucked from his trousers. Bryn, meanwhile, removes his cloak to reveal that he is wearing a black sparkly evening dress and tiara.
I think the ballet is fun to watch, and the music is extremely familiar to me from a favourite cassette about which I blogged a bit ago. It sort of recaps the story, but in parody, or at least in this production. I'm not sure what it adds to the dramaturgy, but at the time it was written, the French absolutely demanded that every opera featured a ballet, often incongruously. Something to do with rich patrons and their mistresses in the corps de ballet, I think.
We then have a completely gorgeous aria from Angela - Anges purs, anges radieux - "Pure and radiant angels, bear my soul to heaven", and Faust finishes where he began, as an old man, presumably sans teeth, sans eyes, sans taste, sans everything.
It really is a fabulous show to watch, and an all round excellent piece of entertainment. Superb stage direction from the always wonderful David McVicar. Excellent stick-waving from Tony Pappano. A superb all round performance from a great singing actor, Bryn Terfel. Excellent vocal performance from Angela Gheorghiu, who is never less than reasonable and often very good on stage. Simon Keenlyside is dramatically brilliant, but seems a bit unsure vocally at times; at other times, gorgeous. Sophie Koch brought a memorable interpretation to Siebel and there was further strength in depth from veteran Della Jones and rising star Matthew Rose. So, in an ironic sense it was disappointing that the weak link was the eponymous 'hero' Roberto Alagna. Not his greatest moment captured on tape, and perhaps unsurprising if it is true that he has vetoed release of the DVD. He hasn't been back since to the Royal Opera House.
As for Faust the opera - what do I think?
It's a classic story and one that we learn a vague sense of long before we actually know the story - the sense that you can do a deal with the devil (for youth or something else that seems to be highly desirable), but, not only does the devil take your soul eventually, also that which is desired doesn't bring one the happiness one thought it would.
I am not sure how clearly this comes out in the opera. There are passages of sheer tragedy, not least that of Valentin, who survived the war only to be killed in a stupid fight. And of Marguerite, her shame redeemed only by death. And, perhaps most of all, Faust, who destroyed his previously exemplary life for a short period of hedonism. The story rollicks along, accompanied by some fantastic music, but in conclusion, I don't find that I don't have sufficient empathy with any of the main characters really to care about the outcome.
