Faust

A resounding, standing ovation rang through the Joan Sutherland Theatre as the cast of this new production of Faust returned to the opening night stage for curtain call after curtain call.

Led by Teddy Tahu Rhodes as Méphistophélès, Nicole Car as Marguerite and featuring American tenor Michael Fabiano as the gullible Faust, this a stunning cast in an unforgettable production that is the essence of “Grand Opera”.

Gounod’s glorious music in this re-telling of Goethe’s original story requires not just a great orchestra and a big cast, but carefully directed acting and a talented chorus and dancers playing demons, witches, soldiers, townspeople and tempting maidens. None of this is missed in this amazing production, originally created for the Royal Opera House, Covent Garden in 2004 by director Sir David McVicar.

With sets designed by Charles Edwards and with costumes by Brigitte Reiffenstuel, the audience is transported to the 19^th century,  to a Parisian theatre, to the church of Saint-Severin and to the glittering depravity and suggestive dancers of the Caberet L’Inferno.  Lighting, designed by Paule Constable and realised by Gary Dooley, adds atmospheric depth and pinpoints some carefully staged frozen moments.

As the orchestra begins the sad notes of the overture, the curtain rises on the ageing philosopher, Faust. Sick of life and learning, he decides to commit suicide. In his aria “Nothing!” (Rien! En vain j’interroge), we hear the beautiful voice of Michael Fabiano for the first time, albeit at this moment playing the voice of a much older man. As he renounces God, calls upon Satan, and gives up his soul for youth and the search for love, the multi-layered talent of this remarkable tenor becomes increasingly clear.

Red engulfs the stage as Teddy Tahu Rhodes as Méphistophélès rises in in smoke from the “Hell” of the orchestra pit. Dashing in a feathered hat, swirling cape and red paisley waistcoat, long black curls, a moustache and goatee, Tahu Rhodes epitomises the wicked Tempter. In their first duet Me Voici, bass baritone and tenor merge in stunning harmony. Méphistophélèsshows Faust a vision of Marguerite through a clever use of scrim and the scene is set for Faust’s tilt at hope and Satan’s eventual triumph.

Act 2 begins on the streets of Paris with a huge crucifix dominating the scene. Valentin (Giorgio Caoduro) and his friend Wagner (Richard Anderson) and a chorus of soldiers, students and villagers sing the rousing drinking song, Vin ou Bière. The soldiers are leaving for war, and Valentin in the heart-felt O sainte médaille ... Avant de quitter ces lieux entrusts the care of his sister Marguerite to his youthful friend Siébel, played with shy vulnerability by mezzo soprano Anna Dowsley.

Méphistophélès appears, providing the crowd with wine from the statue of Christ while singing the irreverentLe veau d'or (the Golden Calf). When he criticises Marguerite, Valentin goes to strike him with his sword, which Méphistophélès breaks in two. Valentin and friends try to fight against this ‘infernal power’, but  Méphistophélès, Faust and the villagers unite in the waltz Ainsi que la brise légère. When Marguerite appears, Faust declares his admiration, but she modestly refuses.

The beginning of Act 3 finds lovesick Siébel singing the very beautiful Faites’lui mes aveux. Dowlsey’s voice is hauntingly clear and the anguished notes of her unrequited love linger with the flowers she leaves for Marguerite, flowers that can’t compete with the casket of jewels Méphistophélès provides. Marguerite finds the jewels and is beguiled by them in the much-loved ‘Jewel Song’, which Nicole Car sings with ringing clarity and power.

Faust and Méphistophélès charm Marguerite and her neighbour, Marthe (very saucily played by Dominica Matthews) and eventually Marguerite allows Faust to kiss her (Laissez-moi laissez-moi). Though she sends him away, she sings at her window of her love for him and Méphistophélès convinces him to climb to her room and complete her seduction.

In the final acts, abandoned by Faust yet pregnant with his child, Marguerite is cursed by the wicked Méphistophélès. When Valentin returns from the battlefield and sees her ‘shame’, he challenges Faust to a duel and is mortally wounded. In his final words he too damns Marguerite.

In a twisted ballet Méphistophélès promises to provide Faust with love and a host of women, but Faust sees a vision of Marguerite languishing in a prison where she is being held for killing their child. Méphistophélès gives in helps Faust to go to her. Though they recall their love in the sad duet Oui, c'est toi que j'aime, she refuses to flee with him and calls for divine salvation. As her soul rises to heaven, Méphistophélès descends to Hell – and Faust and is once again old and ailing.

The dancers are a theatrical asset to the production. Some squirm as devilish demons, others flaunt in a suggestive chorus line at the Caberet L’Inferno and still others tempt Faust in Méphistophélès’ final attempt to secure his soul. The choreography is a mixture of contemporary and classical dance and beautifully executed.

This is a most amazing and uplifting production. Music, voices, acting, dancing, set and costumes combine to make this a wonderful experience for opera lovers – and for those who want a taste of what ‘grand opera’ is all about.

Carol Wimmer

Images: Teddy Tahu Rhodes (Mephistopheles) & Giorgio Caoduro (Valentin); Michael Fabiano (Faust) & Dancers, and Nicole Car (Marguerite) & Michael Fabiano (Faust) in Opera Australia's FAUST. Photographer: Lisa Tomasetti.