Jeffrey Hartmann

Disillusioned with life, the aged philosopher Faust calls upon Satan to help him. The devil Méphistophélès appears and strikes a bargain with the philosopher: he will give him youth and the love of the beautiful Marguerite, if Faust hands over his soul. Faust agrees, and Méphistophélès arranges matters so that Marguerite loses interest in her suitor Siébel and becomes infatuated with Faust. Faust initially seems to love Marguerite in return, but soon abandons her. Her brother Valentin returns from the war and is furious to find his sister pregnant. Will Faust repent his destructive actions, and can his soul, and Marguerite's, be saved?

Along with 'Carmen' and 'La Boheme', 'Faust' was one of my first exposures to opera (through the 2004 Royal Opera House production also directed by David McVicar, of which this production from my understanding is a revival of) and have regarded it very highly since. Loosely based upon Goethe's source material (very much recommended if not familiar with it), the story is compelling if old-fashioned. Even better is Gounod's music which is beyond incredible, so many jewels to pick from.Found 2019's Royal Opera House production of 'Faust' to be excellent, even if not completely perfect. For anybody getting into opera or new to opera, 'Faust' and this production serve as a good introduction, and they are not even the best that opera can offer. Did very much enjoy the 2004 production while not liking all the staging, but find this revival to be even better. What didn't quite work for me before had just about grown on me, while finding a couple of things not noticed before that could easily have not been there and nobody would have noticed. Actually consider the production one of the best of the 2018/2019 season and one of the better productions of 'Faust' seen.Not all the staging touches work, the cabaret part added very little to nothing and felt out of place. The touch with Christ also didn't make sense and could easily have been ommited.Have nothing to criticise otherwise. The town scenes worked much better for me this time, more rousing and the 'Les Miserables'-like feel didn't feel as distracting. Still think Mephistopheles' costume in the Walpurgis Night scene (the first half of Act 5) is on the bizarre side but it just about fitted the atmosphere. Even if there have been questionable staging touches in other productions of his, McVicar's work has always been interesting and on the most part tastefiul, always making an effort to be respectful to the opera in question while adding new touches to the drama, character interaction and characters that make them more interesting. Though there has always been more room for risk-taking.This can all be seen here. "Salut Demure Chaste et pure" and the Jewel song are neither cluttered or static, neither with needless staging touches. The final trio has intensity (same with the duel scene) and ends on a poignant note, while there are amusing and menacing touches with Mephistopheles (the mocking serenade especially) and the church scene is beautifully performed. A standout is the Walpurgisnacht ballet, am always delighted when it is included because it not always is, which is both sexy and oddly terrifying. The production is very well done visually, with the glitz in some scenes and grittiness in others never overdone, and the lighting is a big star, especially in the Walpurgisnacht scene where the austerity is nailed. Beautifully captured when live screened in the cinema.Musically, this 'Faust' is superb. The power, darkness, lyricism, finesse and nuance of the score are brought out expertly by the well-balanced orchestra. The chorus sing beautifully and there are constant signs of individuality in their acting, don't know about you but with the right director acting has come on a lot in opera. Dan Ettinger's conducting is alert and sympathetic. There is not a weak link in the cast. Michael Fabiano is an ardent Faust while also having the right amount of intensity in his acting, his voice having a nice ring and didn't sound too small for the role. Irina Lungu, now recovered having been ill for some of the run, has a shimmering tone most obvious in the Jewel song (she handles the colouratura with ease) and the fragility and steel of Marguerite are beautifully conveyed. Stephane Degout is a firmly acted and warmly sung Valentin, with "Avant de Quitter" being a production high point. Marta Fontanals-Simons is a touching Siebel. The best performance came from Erwin Schrott in a performance one will remember for a long time, who sings magnificently and is equally magnificent in characterising and balancing the swagger, comic timing (he is very funny sometimes) and menace (also genuinely terrifying in others) of Mephistopheles.Overall, excellent. 9/10