Faust on stage

[Florestan]

Next Sunday I'm going to attend Gounod's Faust live and the seats are not so good visually wise. Has anyone of you seen it on stage? Is it worth watching the action or can I safely concentrate on music alone? (I've read the play so I know the action quite well).

[Larry Rinkel]

Next Sunday I'm going to attend Gounod's Faust live and the seats are not so good visually wise. Have anyone of you seen it on stage? Is it worth watching the action or can I safely concentrate on music alone? (I've read the play so I know the action quite well).

It all depends on what production you're seeing and where you're actually sitting. If you're high up, you can always bring opera glasses or binoculars (though I never do, as it reduces my sense of the whole stage). I would say that any opera is worth seeing live for the action (even things like Tristan und Isolde, where for long stretches nothing seems to "happen"). After all, operas were designed originally for the theater, not for CD players.

[Florestan]

I would say that any opera is worth seeing live for the action (even things like Tristan und Isolde, where for long stretches nothing seems to "happen"). After all, operas were designed originally for the theater, not for CD players.

Fair enough. 

[bhodges]

I have only seen the opera once, in 2005, when the Met did a new production, and I didn't really warm up to the Gounod score, but you may enjoy it more.  The Met's staging was a bit over-busy, with design influences from all over that didn't seem to quite gel, although René Pape was great as Méphistophélès.  I do agree with Larry, that it's always best if you can see more of what's happening onstage. 

Let us know what you think!

--Bruce

[Wendell_E]

I do agree with Larry, that it's always best if you can see more of what's happening onstage. 

Me, too.  I'll be seeing my third Faust (and first opera of the season) in New Orleans the Sunday after Florestan sees his.

[Larry Rinkel]

I have only seen the opera once, in 2005, when the Met did a new production, and I didn't really warm up to the Gounod score, but you may enjoy it more.  The Met's staging was a bit over-busy, with design influences from all over that didn't seem to quite gel, although René Pape was great as Méphistophélès.  I do agree with Larry, that it's always best if you can see more of what's happening onstage. 

Let us know what you think!

--Bruce

Of course, with parts of that production, the best thing would have been to wear a blindfold.

[max]

Of course, with parts of that production, the best thing would have been to wear a blindfold.

Oh! if only Mozart or Wagner had composed the music I wouldn't have given my seat to even a little old lady!

[Florestan]

Let us know what you think!

I'll certainly do!

[Florestan]

Let us know what you think!

Here you are!

It was the first time I've ever seen this opera live and full version and I must say I'm quite impressed. I've especially enjoyed some great moments: the love duet Faust-Margueritte, Mefisto cursing her in the church, Mefisto's serenade and Valentin's death scene. This doesn't imply the rest is weak. Actually I think the libretto is quite coherent and realistic, considering its time and place of conception. As to the music, it's  sometimes breathtaking, sometimes rather dull (see below) but on the whole I think it's a great opera.

The production was rather conservative - a good thing since I can't stand Eurotrash - with no extravagancies in settings, dressings and acting, except the ballet was performed by almost naked dancers - a good thing, also.

A few minor quibbles:
- Faust had more hair - albeit white, long and greasy - as an old man than after rejuvenation, when he exhibited in its full glory a baldness a la Louis de Funes
- Margueritte was rather plump, as if she had given birth to several children before meeting Faust
- After returning home from the war, the soldiers - who are supposed to be wounded, exhausted and in a wine-and-women disposition - march and sing a very loud and happy chorus about the joy of fighting for their country. This would have been more in its place before their going to battle, methinks.
- The ballet depicting the sabbatical orgy is too long and the music is quite kitsch, I'm afraid. (But I guess it's Gounod's concession to the contemporary French taste).

All in all, I had a great time.

(In 2 weeks time I'll be attending Lucia di Lammermoor. Will keep you updated with my findings )