It was thrilling, but certainly not exactly performed in delicate shades and nuances!
It was very energetic at the orchestra, almost too loud at times, which I think did not suit the soft and precise art of singing of tenor Charles Castronovo who delivered the best rendition (for me), in French at this Faust opening night at the Festspielhaus.
For D-Day, I had the best ever "Gloire Immortelle de nos aïeux" with speedy rythm from the conductor and martially and heartily sung by a splendid chorus... I found it even a little bit ironical... (pity I did not have a little flag to wave).
But what disappointed me most was to see the almost empty third balcony. We all made a move to the first ranks in order to face the stage (I was happy because I was on the side with restricted views for 96 €....and was rather disappointed, then delighted that the absence of their star was in the end favorable for the
impecunious audience!).
While moving, a neighbour told me the reason why these seats were empty was the absence of Miss Netrebko: 'you see, we only come when she sings'... the star-system works full speed here!
When Marguerite, appeared I was astonished to see the spitting image of their cherished Anna Netrebko, with the same hairstyle (blackhair extensions, or may be Sonya's own long black hair displayed in a similar style), the same large face, and which was even more distressing, the same quality of a rather heavy full voice plus the tops not quite enjoyable at times... I hardly recognised the young artist I heard in Aix last year in a recital. I know the voice is something fragile and Sonya Yoncheva is now expecting a baby, so is bound to experience voice changes, but why wanting to look like another singer? Was it intended by the actor directing?
Still, this impression vanished during the action and I somehow found her again in the very delicate scene in the garden with Faust: the two were matching vocally and she sounded like I once discovered her: a dramatic soprano totally in her role (she threw herself on the floor in such a way I felt she could have hurt herself). Her Marguerite was touching, naïve well suited to such a delicate Faust. I found the couple very convincing and also intelligible in French. As I started writing, Charles Castronovo for me was the best singer of the cast: he delivered a delicate falsetto top when singing 'Salut demeure chaste et pure' and was so good all the way through the drama, sometimes almost covered by the too energetic conductor, and the loud chorus (fantastic scene of the end of the Walpurgis where he was choking under the weight of over embracing sexy girls...adorned with ostrich feathers! I liked seing him in black Marcel and black pants but felt awful for him!!!)
As for Mephisto, I was put off by the clumsy French sung by Erwin Schrott, who is an expert on parlando, (I knew that already, remembering his Leporello in Salzburg, where I doubted if I heard him sing!). Here, he sang alright, but always 'forte' with no nuances at all and some low notes were not very elegant to my ears as the French sounded quite distorted. But his acting had a lot of seduction which made his Mephisto a likable Rock and Roll devil, superb at snapping fingers, opening fans, mastering his games with brio, and wearing sexy suits plus a smashing hat, kind of Fedora hat matching his suit, which he put on Virgin Mary's statue and sort of made fun with it snapping his fingers again... in a word, too sexy to be true, more a comedy character than a dramatic one.
The contemparory costumes (it is set in WW1) helped to experience a delightful evening, with all sorts of special effects (lights, fires, atmosphere of fun fair ), the real thing on stage at the fun fair, plus an orchestra which contributed to this festive atmosphere in the ensembles, a fantastic speedy waltz too !
A special word for Valentin, who also mastered French words and intonation and gave a wonderful 'Avant de quitter ces lieux' and 'O sainte médaille'
At that point, I thought he was the best! . Opposed to Mephisto, he was less convincing, still well singing.
As for the setting, I could have done without the two mute added characters: the 'woman' who appeared at the first scene and seemed the re-incarnation of old dying Marguerite on her hospital bed,
looked after by aging Faust (amazing disguised Charles Castonovo !). Then during the garden scene, as soon as Marguerite explained to Faust that she lost her little sister, the ghost of the child appeared. These two 'ghosts' will join when the Devil shows his super powers on the underworld, so I was inclined to think they are lost souls, 'l'âme des trepassées' which is invoked by the chorus, but how can a child's soul be at the devil's hands? I do not follow the incarnation of evil by these two characters, and if the 'Woman' is the flash -back of Marguerite' it does not help to see her around every scene, or else, I understood nothing.
The stage transformation in depth and width was amazing. It took place during the singing and ensembles and I noticed two intense moments: the apparition of the Paris street lamps then the beginning of the church scene when the white pillars came down, again I had the impression of amazing childhood delight!
Nothing new really but a thrilling rendition by the orchestra and a wonderful young cast.
Did I forget Siebel? well, Angela Brower was fine but not smashing, compared with some Siebel I enjoyed; the flowers aria was nice and I liked her solo gentle run at the curtain calls!
I noticed the conductor left aside the sweet aria 'll ne revient pas' ... a pity because Sonya Youcheva would have been moving here...
Another puzzling thing which never disappeared from the back of the stage: a grey gown on a coat-hanger.. it seemed to me that when Mephisto came from nowhere to help Faust, the garmnent had a sudden flashy pink light round the sleeves... could it be the magic link to the underworld... from Faust's creative mind? (replacing the traditional scientific old Faust among his glass jars, experimenting and inventing, rejecting the blessed and invoking the Evil ... this garment could be his University gown... so ... un fil conducteur...!)
Here, Erwin Schrott stole the show, but I wonder if another audience, somewhere else, would have had the same reaction.
Some photos and account from
Bayerische Staatsoper.
My curtain calls and pictures.
Every night, the joy of the pink round bouquets can be seen on stage! nice tradition!
lifting the chandelier!
Also, the lifting of the opulent chandelier! Quite a sight!
I loved my evening at the Festspielhaus, I tried to sell my tickets but was unsuccessful and I know why, but this cast was certainly worth coming quite a long way to enjoy it !There
are always other very good singers to take the job!
A special "Bravo" to sweet Sonya Yoncheva who does not need to look like the special star AN in this part of the world!
Thomas Hengelbrock Musikalische Leitung
Bartlett Sher Inszenierung
Catherine Zuber Kostüme
Michael Yeargan Bühnenbild
Charles Castronovo Faust
Sonya Yoncheva Marguerite
Erwin Schrott Méphistophélès
Jacques Imbrailo Valentin, Marguerites Bruder
Angela Brower Siébel
Derek Welton Wagner
Jane Henschel Marthe Schwertlein
Emanuela von Frankenberg La femme
NDR Sinfonieorchester
Philharmonia Chor Wien (Choreinstudierung: Walter Zeh)
Charles Gounod
Faust – Oper in fünf Akten.
Das Libretto stammt von Jules Barbier und Michel Carré nach Goethes Faust I.
In französischer Sprache mit deutschen und englischen Übertiteln.
Mariella Devia, photo from San Carlo site.
(ONP site)
after the bouquets!
first applause
the third balcony 