Hit or Miss

The most desirable opera-going venue in the U.S. --thanks to the fragrant mountain air and cool breezes--sometimes gets things right and sometimes wrong. What could be better than an imaginative production of Faust by Stephen Lawless, conducted by Frederic Chaslin with true Gallic spirit and thrillingly sung by a young attractive cast? This French retelling of the German myth, based on a play “Faust et Marguerite” by Michel Carre which was in turn based on Goethe’s “Faust”, deals with issues to which we, as a modern audience, can still relate: the issues of desire versus morality, the corruption of innocence, cynicism toward religion, the despair of an unfulfilling llife and obsession with the road not taken. For this libretto by Carre and Jules Barbier, Faust composed melodies of incomparable beauty. Indeed, I found myself humming them even after attending several more operas!

A completely committed performance of the role of Marguerite was given by young soprano Ailyn Perez, a 2006 George London Award winner who will be giving a recital at the Morgan Library on October 16th (afficionados take note); her bright clear soprano fulfilled every vocal demand of the role and her acting was so convincing that she seemed not to be acting at all. Dimitri Pittas did justice to the role of Faust and was especially convincing as the elderly doctor railing against god in Act I. Mark S. Doss made a most charming and rascally Mephistopheles. Valentin was sung by Christopher Magiera and Siebel by Jennifer Holloway. Jamie Barton sang at her customary skillful level but was poorly directed as Marthe. There was just something wrong about her stealing Marguerite’s jewels and her scenes with Mephistopheles were made tasteless by his very visible show of disgust at romancing her.

There were other directorial excesses. Updating the story to the late 19th c. was not a problem and afforded ample opportunities for creative expression. The Kermesse scene was a carnival with townspeople (dressed very much like Lucia de Lammermoor at the Met) enjoying circus performers , a side show, and an onstage ferris wheel. The Walpurgisnacht ballet was performed by a sextet of opera heroines (Salome, Helen of Troy, Manon, Carmen, Cleopatra, and Delilah) emerging from tableaux vivant to dance Gounod’s gorgeous melodies. However, Mephistopheles restoring Faust’s youth with a giant hypodermic needle and a face transplant seemed over the top, as did Faust giving Marguerite an entire bijouterie in place of a cask of jewels, especially when the clumsy bijouterie kept getting stuck while being wheeled onstage. Mephistopheles’ appearance causes townspeople to go into spasms on the ground. It is only the strength of Gounod’s melodies that prevent these unnecessary flourishes from overwhelming the music.

So the creativity props given to Stephen Lawless’ direction, and Benoit Dugardyn’s sets are somewhat undermined by their not knowing when to stop. Costume design by Sue Wilmington was apt and colorful. On the whole, this was a splendid night at the opera and can be considered a true hit. Viva Gounod!
© meche kroop for The Opera Insider