An excellent performance and production of a fascinating story. The Faust legend is a sure-fire dramatic hit and this version was no exception. The focus here is far more solely on Faust and Mephistopheles wth Marguerite only one of several dramatic aspects in this re-telling. The focus therefore falls back more on Faust and M with Marguerite being simple one of several indulgences.
Musically it’s intriguing. The chorus are of central importance in this work (and here th - ey were superb - and they must have loved the fantastic range of wonderful costumes that they had to wear too. The musical style is very accesible and at times memorable - Marguerite’s aria is the deserved musical highlight I think.
the modern production was excellent as it managed to convey all essential aspects in a vivid and at times spectacular way - Faust at the start, is a white coated scientist in a stark set with each figure at their work station, a table illuminated from below and with a mirrored screen at the back i
In the opening scenen which could, at times, be glimpsed the conductor. This idea seems to be something of a ‘thing’ in modern productions and I wonder why - it does draw attemtion to the fact that we \re experiencing a performance but it can also be distancing (deliberately so) and so cause us to be perhaps lsighly less emotionally involved in the actiosn on the stage. However here the mirror was a screen which occasionally trembled, causing the images to be distorted and I wondered if this was a way of suggesting that much of what we saw was perhaps only in Faustus’s mind. This was not explicit or consistent enough to be the case but it did raise an interesting possibility.
In the Prologue the heavenly choir was largely only heard (although the figures on stage were a part (?) of the chorus. Mephistopholes was first seen as a cleaner in the lab, and later as a waiter at a nightclub which nicely suggested how the devil is just all around us and can easily pass unnoticed.
The locations of the actions are, in the original libretto, clearly indicated but in this production, equivalents were very effectively given - ‘heaven’ as indicated, is a scientific lab, so moving the action to the earth from the opening - althogh in the final scene there were definitely angelic figures - white-robed and with wings - but of this, more later…
The Easter celebrations are a raucous office party with Faust already seen as somewhat distanced form his co-workers and so easy pickings for M. The music for M is often very seductive and the performer here well caught that vital aspect of the role as well as his boredom and cynicism at all he sees and causes to happen - he’s seen it all before - even the Walpurgis Night celebration is something of a drag for him. A well-observed and perceptive character touch this which was consistently used throughout. In his ‘seduction’ of Martha he (M) barely exerted himself as opposed to Faust who had to try really hard.
I found the Walpurgis Night celebration slightly less effective - it seemed to lack the dramatic drive that characterised the show so far (and was picked up from after this scene and to the end). The choral singing though was stunning,
The scene with Marguerite in her cell was very fine. Her aria has already been mentioned (superbly sung too) and I thoght it was really smart the way that her interactiosn were physically with M and only towrads the end did she see him for who he was and communicate with the ‘real’ Faust. Her end was grim and effective. She was on a higher part of the stage (nearer to Heaven?) and she died by the electric chair! These latter scenes were played on a series of steps and platforms which gave great versatility to the action and were structures above the initial scene in the laboratory/study. And it was below this area (which could be raised) that we first saw M AS M as opposed to his human appearance - again, the physical location (below earth) being dramatically apposite.
The scene with Helen in Egypt was marvellously done - Helen and her court were very glamorous chorus girsl with high ostrich-feather headresses and costumes, parading down the staircases to entertain Faust and M, seated at the front with their backs to the audience. I think their duet was another musical highlight of the work and Boito really unleashed his lyrcal powers in this scene.
In the Epilogue we were, sort of, where we started - but now Faust is on the lower level with M and as he received salvation the chorus advanced from the back, in white and with soem amgelically dressed and lit from behind. Marvellous effect and a great parallel to the music.
A great prformance and production then, and one that more than did justice to the work.
Mefistofele: Mika Kares
Faust: Antonello Palombi
Margherita/Elena: Olga Busuioc
Wagner/Nerèo: Christopher Sokolowski
Marta/Pantalis: Fiorella Hincapié
Conductor: Valerio Galli