Gounod: Faust

Like the title says, if what you're looking for is a DVD recording of an enjoyable production of Gounod's Faust, this is definitely a good choice, for many reasons. The combination of these particular singers, the production, and the company make something truly beautiful that reminds me of why I love this particular opera so much. It is, however, quite a modern spin on the opera, and those determined to stick faithfully to the traditions of the Faust legend, such as the setting of Medieval Germany, might not be thoroughly pleased with it.The setting is moved to Paris during the Napoleonic Wars, when the Romantic Era was actually taking place, as opposed to a historical setting characteristic of this literary era, originally imagined in the epic poem by Goethe. This was the time when Christianity was being reborn in Europe after having deteriorated since the French Revolution. This production makes good use of the feeling that would have been common during this time, and for that, it is very interesting. It is also, as I said before, very modern, and it does contain some content that one would absolutely never see in the theater until our modern days of tolerance of just about anything, regardless of how shocking.In this production, dancers and supernumeraries play a significant role in telling the story, and at this point, they are shown doing an erotic, "Moulin Rouge"-type dance, which probably would have been seen in Paris during the time of the setting. At the end just before the curtain falls, the dancer characters are depicted having sex on the ground. Production designers aren't as reluctant to include sexual content on stage now, and this production takes advantage of that. Another turn in the production that I found both disturbing and very interesting was the last scene of Act IV with Mephistopheles' serenade and the duel, in which Faust is shown to be addicted to morphine. When they enter, Faust is shivering uncontrollably, then during the first verse of the serenade, Mephistopheles hands Faust the small box that contains a syringe and a small bottle. Faust takes a shot, then lies on the ground, high on it for the rest of the scene. He then duels Valentin while still high on morphine; in my opinion, this makes the duel scene more tragic and disturbing, as Faust's defeat of Valentin due to his unfair advantage of being aided by the devil is made worse since he also duels him while high on morphine, which would be like Jake Gyllenhaal winning a knife fight with Mark Wahlberg while being high on heroin. This makes a reference to a time during the mid-1900s before opiates were a controlled substance and before people understood how dangerous some drugs could be. At this time, a significant portion of Europe and Asia, especially China, was addicted to morphine. These days, that is a very scary thought, and I think it is a brilliant little detail to add to this production.The cut of this production is also really interesting. I, personally, don't get bored very quickly, and I have always felt disappointed when certain numbers included on CD recordings are cut from stage productions for time purposes. I really hope that one day unions will stop charging opera companies to use the facilities for longer so that so many beautiful scenes won't be doomed to never being presented visually again. This production includes the Walpurgis Night scene at the beginning of Act V, which I had previously only heard on recordings and never seen in performance. It was very fun to see this scene used, as the music is beautiful, and it is a significant plot point in Goethe's original. However, the scene uses the ballet composed for the Paris Opera's production, rather than the drinking song. It was sad to not get to hear that, but hopefully another production will soon be produced that includes it, and it was also interesting to see the ballet included, which is rare today, as well. Another interesting inclusion is a few measures in the middle of Valentine's Death monologue, which Gounod had excised from the score and can now only be seen in the Dover edition of  Faust in Full Score . I had never heard these measures sung before, and it was interesting to actually get to hear it, though it is only a very tiny inclusion, and the cutting of it does not have that dramatic effect on the scene. Still omitted, however, is the first scene of Act IV, which occurs in the libretto before the Church Scene, and with that goes Marguerite's Spinning Song and Siebel's aria, "Si le bonheur". It would have been nice to hear these, but granted the afore-mentioned inclusions, which are already unusual and delightful to see included, I'd say I'm pretty content with the cut.Also, of course, credit must go to the singers for their contribution to such a fine performance. Roberto Alagna might be the perfect Faust of our generation; his voice is so smoothe and sweet-sounding and makes a great combination with his physical figure to make a convincing frail old man and handsome young lord. Bryn Terfel is an interesting choice for Mephistopheles. He doesn't have exactly the same deep, dark, rich-sounding bass voice that is generally preferred for the role, but he still has all the notes (his low G is loud, clear, and quite impressive most of the time here), and his "villain" disposition makes him a spectacular devil. I can't blame him for wanting to do it; it is probably the juiciest role in the bass repertoire. Perhaps dramatic baritones and bass-baritones should attempt this role more often. The relationship between Faust and Mephistopheles is also changed a bit in order to fit these two singers' personalities. Usually, Faust is depicted as rude to the devil, as deep down he might really feel guilty for what he's done, and Mephistopheles is more gallant and mannerly. Here, however, Faust is much more energetic and cheerful, and Terfel's interpretation of the character is more dark and ominous, kind of like he is in the other operatic adaptation of Goethe's Faust, by Arrigo Bioto. Instead of Faust behaving rudely, he is more inattentive, and Mephistopheles shows annoyance for the Doctor's antics on the side to the audience from time to time. This is another non-traditional aspect of the production that might annoy some purists, but it can be enjoyable if you accept it and go with it. Angela Gheorghiu is a spectacular Marguerite, which I had expected. The control she maintains in her upper range distinguishes her as a very accomplished singer who is able to handle extremely vocally demanding music. She does it all so effortlessly and is an inspiration to aspiring young singers like myself. Simon Keenlyside's light, lyric baritone voice makes for a wonderful Valentin, and Sophie Koch is a charming, sweet Siebel, who is also depicted in this production as having a limp. Also, the makeup and costume department did a very good job of making Koch look like a boy. I'd say this production's Siebel is probably the best I've seen, as the character's role in the story is drawn out and made important, rather than minimized as an insignificant background figure, as he often is.No two visions for the perfect production of any opera can be exactly the same, so this production certainly won't please everybody. It has a lot to offer, however, and I am very happy that I spent the money on it. Faust is coming back these days as one of the world's favorite operas, and for years there was no decent video recording available of a stage production. There are things about the production that are far from perfect (I didn't think the English translation was very accurate, but I've seen worse, and it was also better at some times), but if what you're looking for is a well-sung, visually entertaining and stimulating production, you definitely can't go wrong with this.

A cursory review of all the available recordings and/or tapings of Faust on either LP, CD or DVD this new (2004) staging from ROH is clearly the leading contender. This doesn't make it the best, but the balance sheet is clearly in the black. It was my understanding that the performance would never be released due to difficulties that were never revealed although that must have been an initial thinking in the casting and its being shown on British TV. Whatever the problems were they have been overcome.It may be in the notes but try as I might I was unable to find out who was the director; a Google search cleared up the problem: David McVicar. This was the first new production of Faust in many years at ROH. McVicar has moved the time period up to Gounod's, the mid 19th century as opposed to Goethe's medieval Germany. Arbitrary and about as illuminating as his time traveling in the current ROH production of Nozze di Figaro. Which is to say that it neither added or nor detracted from the overall experience. Faust essentially rests on the gifts of its singers. When he wrote it France was able to provice the world with artists who possessed the ability to sing this music. For a brief but illuminating article on French singing I would suggest the essay by Kenneth Furie in Opera on Record I. The very first recording of Faust was in 1930 and the great Journet sang Mephisto. Vezzani was the Faust. An Italian name but from Corsica, an island that provided France with some wonderful singers.Returning to the current edition it is easy to recommend this set over the others if only because Alagna's French is native. He may not command the vocal thrust of Thill but it is a pleasure to hear the voice of a Francophone speaker. His wife, of course, is not French, but far preferable to the competition--conjugal pillow talk? Terfel takes surpring care with the language; this was evident in his performance in Hoffmann. he lacks the low notes--afterall he calls himself a bass-baritone. The role really requires a Pinza, a Siepe or a Journet. Keenlyside's Valentine is beautifully sung and as a lieder singer his care with words has always been exemplary. Siebel is Sophie Koch, also a Francophone speaker; too bad her second aria was omitted but then it usually is.Faust is not likely to regain its popularity with the public any more than Tannhauser, but it deserves to be revived and treated with respect. One whiff of irony, of course, and the work will collapse. To succeed it must be taken seriously and attract the kind of singers who can distinguish themselves in Gounod's music. In the last few years it would appear that Romeo and Juliet has overcome its second position and is now more popular with the public than Faust. I find this understandable and would rate it a better opera. First off the libretto is less ambitious. it is dramatically more taut and given the right singers i find it far more rewarding.There is one DVD of which I have heard only a small portion, the VAI performance from Tokyo with Scotto, Krauss and Ghiaurov. There is one review which is very positive, the remaing very negative focusing on the techical shortcomings of the DVD. Since I am well aware of these shortcomings and have purchased the Lucia, Traviata and Ballo I find it appalling that anyone who would purchase any of them would be unable to focus on the performance. (True the main bone of contention is the fact that the Japanesse subtitles are burned into the tape and cannot be deleted.) They reveal what has been lost in the last fifty years and while it is not possible for a Spaniard, an Italian or a Bulgarian would be able to bring French style back to life, each of these artists was a singer of great style and voice. Nothing like them exists today. The remaining DVD sets may possess some virtues but I would still opt for the newest set. It is not likely to be bested even with its shortcomings.

French opera can only be properly delivered by French singers, or at best by singers with excellent French pronunciation. In this performance, the only main principal who is French is Roberto Alagna and you can easily follow his words and understand what he is singing about.Fortunately, he sings the title role and I find him much better than in other roles he has done. For example, is not good as Radames in Aida, but again singing in French he is good as Don Jose in Carmen.Bryn Terfel makes an imposing Devil, but his French is a bit of a problem. Vocally, he is fine. Angela Georgiou sings a sympathetic and believable Margarita, vocally more than adequate and provides a good interpretation.The rest of the cast are good with no one shinning above the rest.Pappano conducts the score accurately and with some feeling. He is certainly much better than his successor at Covent Garden in conducting the latest performances of this production of Faust.The production by David McVicar is on the whole acceptable. He uses some odd staging props, like a balcony on the left-hand side of the stage that looks like an opera house box, coupled with a church organ on the right-hand side of the stage. Some of the street scenes do remind one of medieval Germany. ON the other hand, there are too many French flags being waved about which do not really match the story. On the down side, Faust with dark glasses in the 17th century?! Mephistopheles dressed in drag in Act V?! Why it looks cheap and adds nothing to the performance.On balance, it is an enjoyable performance worth acquiring.

This performance of Gounod's Faust from the Royal Opera House is nothing short of magnificent. At last for such a great opera, which has been badly served on DVD until now, we have a recording which does the work full justice. The cast is almost perfect and the performance is superb. The production is sheer quality from start to finish, with wonderful sets and costumes and a drama true to the original but with frequent reflections of the present era. This is a fully traditional production which is nevertheless entirely modern in outlook and execution.The performers are outstanding, vocally fabulous as would be expected, but the great bonus here is that they are all excellent actors and also physically suited to their roles, which is no small consideration in opera. It is an accurate measure of Roberto Alagna's truly great performance that he reminds us that this opera is entitled 'Faust'. So often the eponymous character is overshadowed by Mephistopheles in performances of this work. Not so here, rather this is an almost perfect balance of equals. Bryn Terfel is, as would be expected, magnificent. He is menacing, humourous and subtle in equal measure, fully conveying the insidious evil of his character. One look or sneer from him conveys a world of meaning. Normally he would outshine all other performers in this opera, but not in this company. He is equalled by Alagna and Gheorghiu, both vocally and dramatically.All the other performers are excellent too, but Simon Keenlyside is outstanding in his role as the war-weary Valentin, brother to Marguerite, and Sophie Koch is truly touching and vocally beautiful as Siebel, Faust's rival for Marguerite's love.In the Act V ballet, five of the seven sections which Gounod wrote are performed as a brilliant parody of classical ballet. This brings out all the irony of Gounod's lovely ballet music played out as it is in the depths of depravity. The incongruity here is further heightened by Bryn Terfel's costume.Under Antonio Pappano's direction the orchestra of the Royal Opera House play superbly, bringing out all the beauty, drama and subtlety of Gounod's great score. This is an absolutely classic performance and I doubt that it will be equalled let alone surpassed for many years to come.

I watched this video with my uncle Benoit who spent most of the time muttering imprecations under his breathe in french. The two stars given were shared between alagna georghiou and keenlyside. Whoever put Roberto in a Halloween costume needs a good slap. He was his usual charming self under very hard circumstances. I was pleased to see that Angela had left her annoying mannerisms at home, but she did look rather bewildered throughout the whole operation and who could blame her? The sets ,direction and costumes were abysmal. Gounod would be spinning in his grave. I have been a fan of Bryn terfyl for quite a while but he has definitely lost the plot in this one, overacting like a madman, with so much rolling of eyes and grimacing it’s a wonder his face went back the next day. The one bright spot was Roberto’s cartwheel after he came out of the trunk as a young man (the transformation scene wan’t worthy of a school play). All in all a sad evening and makes me agree with the card on U tube who suggested the we put all the avant- garde directors custumiers etc on a ship to the Antarctic and let them make silly houses for the penguins.

This Royal Opera House production of Gounod's Faust has to be an all time great. It would be hard to fault it in any way. It's riveting to watch from beginning to end and it's the kind of production one would watch over and over again and never tire of it. There are two 16:9 discs with a total 180 minutes running time. They played well on my Blu-Ray player and I couldn't see anything wrong with the picture quality. Even if there was I wouldn't deduct a star for it because I'm reviewing the opera, not the disc.One of the joys of this production is that the cast are all equally good. Everyone is giving of his/her best and what 'bests' they are! The orchestration is inspiring with the conductor, Antonio Pappano his usual inspiring self. Angelo Gheorghiu as Maruerite has to be one of her greatest roles, Roberto Alagna is a great Faust and Bryn Terfel excels as Mephistopheles. Simon Keenlyside is perfect as Valentin and Sophie Koch (Siebel), Della Jones (Marthe) and Matthew Rose (Wagner) are all on top form. The staging and costumes were of the best and the diabolical ballet in Act 5 could not have been performed better. It's here that we see Bryn Terfel presented as a female version of Mephistopheles. Very interesting!One can only imagine that Gounod would be delighted with this production of his masterpiece. I could go into lots more detail including a resume of the storyline, but it's a very well known one, besides which those who don't know it will enjoy themselves more by finding it out as they watch this brilliant production. And please, good people, don't allow any adverse comments about the picture quality of the disc phase you. Most of us who have watched it on its two discs are not bothered by it; otherwise it wouldn't have received such a cascade of five star reviews. In short, it really is an all time great production of an all time great opera.

This recording of Faust, made at the Royal Opera in 2004, is essentially a traditional production and with believable settings within the context of the story. Importantly it a features a top calibre cast on top form under the expert baton of Antonio Pappano.The main four characters are particularly impressive as one might hope for or expect. The larger than life role of Mephistopheles is ideally cast with Bryn Terfel physically dominating in a central role that enables him to make the most of his imposing presence. As he has demonstrated in his portrayal of Puccini's Scarpio, Terfel is very suited to darker roles and in this opera he has plenty of opportunity to show this to telling dramatic effect with convincing acting allied to an effortless mastery of the vocal challenges.Simon Keenlyside is equally fine as a singer/actor and he brings an equally strong portrayal to his characterisation of Valentin. He is still very much in his prime, vocally and physically and this makes for a convincing interpretation of his military role.Angela Gheorghiu brings her customary intensity to the role of Marguerite which dramatically must encompass the decline from innocence to insanity and then a rise to final redemption. This is not easy to portray convincingly and it is to Gheorghiu's credit that she is able to deliver these dramatic challenges so well while still completely delivering on the vocal aspects of the role.However, the most central role of all must be that of the title role of Faust. This brings a remarkable performance from Roberto Alagna who delivers what must be one of his finest performances to date. He too is fully in control of the vocal demands of the part and also of the shifting dramatic nuances of the role. He is also in good physical shape and is able to bring an extra dimension of genuinely fit athleticism to the portrayal.The supporting roles of Siebel, Marthe and Wagner are well delivered by Sophie Koch, Della Jones and Matthew Rose respectively and Pappano is on top form as conductor. The orchestra is very fine and responds to every demand without fail. The choreography and dancers are suitably effective as appropriate as is the chorus contribution.The booklet provides an interesting description and coverage of historical background detail.The camera work is fully involving but the predominately dark settings have led to rather over-contrasty imaging which might be the result of over-sharpening at the production stage of the processing. This is the weakest part of this product. The sound is excellent on the other hand and is presented in both DTS 5.1 and stereo options.Overall this is a very strong portrayal of Faust given by a top quality cast and in a believable setting. The recording is sonically good but the imaging could be described as a touch disappointing for 2004 standards. This might be rectified on a future reprocessing if the problem is simply that of over-sharpening. However it is also possible that this would not be a matter of concern for those not involved professionally with photography.Musically and dramatically this clearly gave the audience present on 19th June 2004 much satisfaction. I would suggest that it is equally likely that most purchasers of this disc would feel the same way and that it is certainly worth seriously considering as a potential purchase.