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Examiner.com, December 12, 2011 |
Melanie O'Neill |
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Gounod: Faust, Metropolitan Opera New York, ab 29. November 2011, Vorstellung am 10. Dezember 2011, Kino |
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Gounod's Faust via Fathom Events' MET Live in HD Series
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Gounod’s Faust, which has thrilled MET audiences since Opera House’s very
first performance in 1883, made a comeback today in Des McAnuff’s updated
production. Set in the period between the two world wars, Faust is a nuclear
physicist who is involved in developing the atomic bomb. The performance was
conducted by Yannick Nezet-Seguin and lead by tenor Jonas Kaufmann, bass
Rene Pape, and soprano Marina Poplavskaya.
In the title role
of Faust, Jonas Kaufmann was most engaging when singing with his colleagues.
His opening scene and solo singing tended to be uninspired and emotionally
drained; however, in conjunction with Pape and Poplavskaya in Acts II and
III particularly, his character came to life. Vocally, Kaufmann was
consistently strong. His characteristically dark, warm voice was
particularly effective in adding to the seductive tone; it softens the
impact of Faust’s ardent advances. At times, when Kaufmann would diminuendo,
or sing piano in his higher range his voice became distorted and sounded
very forced. When singing in full voice, both Kaufmann’s lower and higher
registers were smooth and commanding.
Poplavskaya played the
role of innocent Marguerite with touching sincerity. Her light, sweet tone
emphasized Marguerite’s youth and naivety throughout Faust’s seduction.
Poplavskaya’s Marguerite shows true modesty and fear at Faust’s aggressive
advances. Her elegant rendition of the “Jewel Song,” rather than casting
Marguerite in a vain light as it sometimes does, brought out her naivety and
the simplicity of the life she is accustomed to. Poplavskaya’s
transformation between acts III and IV, and even IV and V, were particularly
impressive. The trembling Marguerite in Act V, with short dirty hair and a
glazed, lost look in her eyes, inspired more than just sympathy in the
listeners’ hearts, but also a degree of fear. Poplavskaya makes Marguerite
more than a pathetic wreck at the end of the opera; she turns her into
someone who, despite her loss of sanity, is confident in her perceptions of
evil. The intensity Poplavskaya brought to the final act made up for
Kaufmann’s acting in the last scene, which had been reduced to
absentmindedly wandering the stage singing his lines.
One of the most
gripping scenes of the performance was the juxtaposition of Marguerite and
Mephisto, played by Rene Pape, in the pews of a church. As Marguerite begs
for mercy and forgiveness in the warm light of the church, Mephisto sits in
the next pew over, shrouded in cold blue light. The entrance of the organ,
generally used in sacred music, brings with it, rather, a sinister color as
Mephisto begins to terrorize Marguerite with thoughts of eternal hell.
Mephisto, who Pape introduces as a comic and quite charming, also makes a
metamorphosis after the third act. From start to finish, Pape’s singing and
acting by far the highlight of the night. His intonation was spot on
throughout the opera and his tone always beautiful, but still expressive and
menacing.
In the smaller role of Valentin, Russell Braun drew quite
an ovation. His bright voice and perfectly even vibrato dazzled the audience
during his limited stage time. His fervent curse of Marguerite was not
chilling, but rather, boiling with passion and rage. Michele Losier, in the
pant role of Siebel, was a sympathetic character and sang with a crisp,
clear voice. The set, although not thrilling, was not a disaster either.
During the choral numbers the chorus could hardly cram themselves onto the
stage, making the action a little chaotic to watch, but otherwise the open
stage kept the focus on the characters.
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