Hiya! I've been having this craving to talk about Gonoud's "Faust" since the third week I accidentally never wrote. Oops. Well, there's a long, funny story that goes with my experience of "Faust."
Long, long ago, when I was not yet an opera fan, I was obsessed with "The Phantom of the Opera." I saw the 2004 movie and got hooked. Subsequently, I saw a live production, learned all the songs, read the book by Gaston Leroux, and saw the silent 1928 film starring Lon Chaney. I couldn't get enough of the Phantom. But, I was a bit confused by all the musical references in the book, and I was particularly curious about those regarding "Faust." Many years later, my mother and I were parousing the opera section of a used music store when I came across a copy of "Faust" starring Placido Domingo, Nicolai Ghiaurov, and Mirella Freni as Faust, Mephistophelés, and Marguerite, respectively.
I had already decided that I was Ghiaurov's biggest fan, so I got the CD set. I might well mention here that the case was sealed by several stickers which the employees of the store had applied. Five minutes later and much to my chagrin, I discovered that the CD set was missing the libretto. Stupid used music store, selling incomplete opera sets without letting the customers check them! But I wouldn't let my hopes up. I would listen to "Faust" and understand it if it meant it would take years. And it did take years. For a long time it sat on my desk, waiting to be heard. I listened to the overture and the opening numbers countless times and tried to find online French/English side-by-side libretti. All the ones I found were incomplete, so it waited longer. And longer. And longer. Eventually, I read a libretto that was an "English Version" and kept up based on which characters were singing at that particular moment. However, I only got as far as the end of the second act. But then, I had an epiphany! I realized, if I found a copy at a library and listened to it once, just once, while reading a proper libretto, I'd remember what was going on-- I have good memory-- and I would probably never need the libretto for it again (although it was disappointing not to be able to have one on hand). And that was exactly what I did.
At one of my very favorite libraries, I listened to this fabulous copy of "Faust":
It was incredible. It actually made me cry. And I finally understood what the references in "La Fantóme De L'Opéra" meant. Then I came home and listened to my copy.
No matter who is performing it where or when, Charles Gonoud's "Faust" is a great opera. It's dramatic, it's romantic, it's touching, it's French, it's beautiful. The overture is akin to Mozart's overture to "Don Giovanni"-- repeated dark, shadowy chords, setting the tone for the action of the opera, are the first notes the listener hears. It's riveting! Faust's vague, angry, and semi-repentant character keeps the audience guessing. The loyalty of Valentin, Siebel's sweetness, Marguerite's true repentance, and Mephistophelés's despicable heinousness are too true and too deep for us to doubt. I will confess though, I'm surprised at how much of "Faust" I can sleep through and still remember what's going on... Don't give me that look! I was tired! So now that you know the terribly long story of how I discovered "Faust," the claws come out... and the review begins.
Version 1: I'm going to be brutally honest. The more I listen to Mirella Freni, the less I like her. I don't have anything against her as a person or as a performer-- She's very professional. But she's not my style. And I think, like with Sutherland and Callas, she got really famous when her voice really was good for roles like Marguerite, and people didn't get over it. As far as her recordings, she didn't move on to roles that suited her maturing voice. But that's my humble opinion. Domingo and Ghiaurov are fabulous. I can never get over how versatile the former is and how just plain terrific the latter is. Thomas Allen as Valentin, Michéle Command as Siebel, Marc Vento as Wagner, and Jocelyne Taillon as Dame Marthe are all splendid, as is Georges Pretre's conducting. This copy also includes the ballet music of "Faust." It's a great recording. Just make sure you get a libretto.
Version 2: I love this version!!!! I can't say that enough. Richard Leech was brilliant as Faust, although I'll confess I thought he had a little trouble getting up to one particular high note, but I don't blame him and it didn't take away from the overall recording at all. José Van Dam was an astounding Mephistophelés, and I particularly want to note how well he sustained his voice in "Le Veau D'Or". It just gets me. His mastery of dramatic and vocal technique is incredible. Cheryl Studer was a Marguerite I could adore-- such a lofty, shimmering voice! Listening to her was a pleasure. Thomas Hampson (what's with all the Thomases as Valentin?) sang Valentin so well, I cried during his death scene. No joke. And I'm not normally a weeper, either. Martine Mahé was an adroable, charming Siebel, Marc Barrard was a delightful Wagner, and Nadine Denize was a very good Dame Marthe. Michel Plasson conducted beautifully. I'd also like to mention that this EMI Classics copy has an addendum which includes not only the ballet music, but also several duets, trios, and an extra aria that are extremely interesting to listen to-- I really enjoyed it.
All-in-all, from a learner's perspective, I'd say that the Leech-Van Dam-Studer version would be the best first "Faust," and when you're ready to try a new version, the Domingo-Ghiaurov-Freni recording is a good option.
Until next week, folks!
~R.M.
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