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Opera, March 2016 |
Hugh Canning |
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Berlioz: La damnation de Faust, Paris, Opera Bastille, 8. Dezember 2015 |
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La damnation de Faust
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Jonas Kaufmann as Faust, returned to Paris to share the run of performances
with Bryan Hymel. His vocal performance was astounding; perfect intonation,
elegant of phrase and subtle of nuance. In the tricky Bastille acoustic his
voice sounded beautiful, though not notable for its power. Sophie Koch was a
convincing Marguerite and Edwin Crossley-Mercer, another admirably
consistent artist, made an ideal Brander. If Kaufmann was the star of the
evening, its true hero was Bryn Terfel as Mephistopheles. Like his
colleagues on stage, he sang with elegance and assurance, but he surpassed
them in idiomatic articulation of the text and his projection was superb.
Conducting the orchestra of the Opera National de Paris, Phillipe Jordan
crafted the score exquisitely, as is his wont, but Berlioz maybe demands
more grit and gleam.
Hermanis, drawing on a large budget, had clearly
thought deeply about the piece, but ultimately the production fell victim to
contrivance. Looking to shine a contemporary light on the myths that
underpin the story, Hermanis set the action in 2025 and made lavish and
impressive use of video projections. Events were no longer set in motion by
a rejuvenating pact with the devil, but by plans for 100 or so people to
leave Earth and start a new life on Mars. In this context, Faust took the
form of a rea-life advocate of space colonization, the theoretical physicist
Stephen Hawking. He was portrayed by two performers: the dancer Dominque
mercy, confined to a motorized wheelchair, and Kaufmann, standing on his own
two feet, wearing a present day suit and occasionally looking a little lost.
In the opera’s final moments, Hawking, seemingly weightless in space, was
freed from his wheelchair.
Inspiring and moving as that was, it came
at the end of an evening that further confused the identity of a hybrid
work.
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