Published in Herald Sun Melbourne in print 3rd December 2019
Make a deal with the devil and suffer the consequences in a world where only god can provide salvation. That’s the far-reaching message in Gounod’s mid-19th century grand French opera, Faust, based on Goethe’s highly influential play. With more than a century of passing, its religious and moral fear-mongering might appear heavy-handed but the work still delivers a jolt.
Not only is director David McVicar’s Faust for Opera Australia a lavish spectacle that surprises at every turn - right up to a devil in drag - it draws you in to contemplate its many directorial and scenographic choices that highlight, above all, moral hypocrisy. In its clever update from 16th century Germany to Second Empire Paris on the eve of the Franco-Prussian war, the juxtaposition of church, theatre and civic life is a constant source of intrigue.
The frail, old Faust gives himself to the devil in exchange for youth, falls in love with the innocent Marguerite and, coerced by Méphistophélès to pursue more than affection, gets her pregnant. Marguerite’s downfall is rapid, the tragedy pronounced by choreographer Michael Keegan-Dolan’s multi-emotive Walpurgisnacht Ballet, its grotesque half-theatre, half-hallucination a brilliant summary as Marguerite is shamed while the ogling male aristocracy of the Paris Opera audience prey on their targets.
On opening night, as the old Faust, an initial harshness in Saimir Pirgu’s striking volcanic tenor settled as he took on handsome youth with passion and wariness. In a Melbourne and role debut, Maria Mudrya detailed Marguerite’s trajectory with poignancy with her bright soprano but vocal shading was often insufficiently utilised despite reserves of thrilling power.
There was a telling, sometimes likeable, side to Teddy Tahu Rhodes’ towering Méphistophélès as he morphed from one huge identity to another. Anna Dowsley was an all-round shiner as Siébel but baritone Luke Gabbedy was the night’s treasure in a seamless and devastatingly stirring turn as Marguerite’s protective but judgemental brother Valentin.
Conductor Guillaume Tourniaire dug deep to extract the ebb and flow of Gounod’s score without urgency and the thrillingly mobilised OA Chorus finished on a notably rousing level fit to please god.
Faust
Opera Australia
State Theatre, Arts Centre Melbourne
Until 7th December 2019
4-stars
Production Photos: Jeff Busby
Make a deal with the devil and suffer the consequences in a world where only god can provide salvation. That’s the far-reaching message in Gounod’s mid-19th century grand French opera, Faust, based on Goethe’s highly influential play. With more than a century of passing, its religious and moral fear-mongering might appear heavy-handed but the work still delivers a jolt.
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| Teddy Tahu Rhodes as Méphistophélès and the Opera Australia Chorus |
The frail, old Faust gives himself to the devil in exchange for youth, falls in love with the innocent Marguerite and, coerced by Méphistophélès to pursue more than affection, gets her pregnant. Marguerite’s downfall is rapid, the tragedy pronounced by choreographer Michael Keegan-Dolan’s multi-emotive Walpurgisnacht Ballet, its grotesque half-theatre, half-hallucination a brilliant summary as Marguerite is shamed while the ogling male aristocracy of the Paris Opera audience prey on their targets.
 |
| Maria Mudrya as Marguerite and Saimir Pirgu as Faust |
There was a telling, sometimes likeable, side to Teddy Tahu Rhodes’ towering Méphistophélès as he morphed from one huge identity to another. Anna Dowsley was an all-round shiner as Siébel but baritone Luke Gabbedy was the night’s treasure in a seamless and devastatingly stirring turn as Marguerite’s protective but judgemental brother Valentin.
Conductor Guillaume Tourniaire dug deep to extract the ebb and flow of Gounod’s score without urgency and the thrillingly mobilised OA Chorus finished on a notably rousing level fit to please god.
Faust
Opera Australia
State Theatre, Arts Centre Melbourne
Until 7th December 2019
4-stars
Production Photos: Jeff Busby
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