The Stage

Faust

Published Monday 19 September 2011 at 11:38 by George Hall

Revived by Lee Blakely, David McVicar’s 2004 staging of Gounod’s classic may not plumb the depths that this tale of the philosopher rejuvenated by the devil at the price of his soul might require, but no one could claim it’s not entertaining. Indeed, McVicar and his designers (sets by Charles Edwards, costumes by Brigitte Reiffenstuel), plus choreographer Michael Keegan-Dolan, keep us royally entertained for nigh on four hours. The basic premise of the composer himself being torn between the wicked stage and his religion may stand little scrutiny, but Faust played as an upmarket West End musical can still be enjoyable.

Rene Pape (Mephistopheles) and Vittorio Grigolo (Faust) in Faust at the Royal Opera House, London Photo: Tristram Kenton

Particularly when sung, as here, by an all-star cast. Yet as usual with Angela Gheorghiu, there’s a sense of frustration with her Marguerite. So much talent, so fine a voice, but she coasts through much of the role, both vocally and dramatically, when she could win an artistic triumph. Its ingenue character doesn’t come naturally to her.

Nor does Rene Pape’s Mephistopheles field the personality and humour such a star part demands - though once again there’s no gainsaying the magnificence of the voice per se.

Where the individual performers strike home are in Dmitri Hvorostovsky’s thrillingly sung and finely acted Valentin - his breath control amazing, the small cadenza he adds to “Avant de quitter ces lieux” a distinctive personal touch - and in Vittorio Grigolo’s Faust. A fireball of energy, the young Italian tenor is a genuine star, vocally graceful yet exciting and dramatically vivid.

Michele Losier is a winsome Siebel, Carole Wilson makes a tasty meal of Dame Marthe and Evelino Pido conducts efficiently.