Faust at Royal Opera House
The struggle between good and evil has been a source of inspiration for many an artist, and the same can be said for French composer Charles Gounod. Loosely based on Wolfgang von Goethe’s eponymously titled poem (which itself is based on the historical Johann Georg Faust, an alchemist, astrologer, and magician often ridiculed and mocked for heresy), the opera explores religious morals and ethical values.
Gounod’s tale takes place in the Paris he knew well, within the intimate alleyways and courtyards, a teeming capital full of patriotic soldiers and city dwellers, and set during the Second Empire, when the country is on the verge of the Franco-Prussian war.
Dr Faust (tenor Stefan Pop) is at his lowest point, and favours death, coincidentally summoning the Devil, hereby known as Méphistophélès. This prince of darkness is a demon featured in German folklore, sometimes interpreted as an agent of the Devil, and in Gounod’s opera, acts as Satan. Faust is tempted by a scene in which the beautiful Marguerite (a hypnotic performance by soprano Carolina López Moreno) slowly and seductively washes her arms behind a gauzy sheet. Making a deal with Méphistophélès, Faust desires youth; what follows is the protagonist’s preoccupation with attaining Marguerite. Adam Palka’s Méphistophélès is devised as a cunning, conniving trickster, and portrayed more like a witty man, prone to humorous asides, rather than a being from the underworld.
Split into five acts, with a much-needed interval in the nearly four-hour run time, the story develops at a natural pace and is easy to follow. Each of the ensemble actors tonight sings superbly in their own right, but perhaps it is safe to say Moreno steals the show in her Opera House debut, with rich vocals and a stirring performance.
The range and ability in reaching technical difficulty is evident, which is expected from a high end and popular opera, yet the story is just not compelling enough, despite its themes and various moments of dramatic turn, such as the instance when Marguerite’s brother Valentin (Baritone Boris Pinkhasovich) returns from war and damns her to hell, after he discovers her relationship with Faust, or the ballet scene in the final act, pushing viewers to the limit with its portrayal of a mad house or the depths of hell, difficult to say which.
Set design by Charles Edwards invites us into the Parisian streets, with its cosy candlelit bedrooms and alleyways full of depth, while conductor Maurizio Benini’s flair complements the drama. Director David McVicar’s production – revived by Peter Relton – is a flamboyant, gothic affair, but one that ultimately does not leave a lasting impression, despite its sincerity.
Selina Begum
Photos: Marc Brenner
Faust is at the Royal Opera House from 23rd May until 10th June 2025. For further information or to book, visit the theatre’s website here.
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