In the late 16th century, Christopher Marlowe’s Doctor Faustus included some comic scenes but was still said to have driven some of the audience mad with its powerfully scurrilous moral message. Two centuries later, Johann Wolfgang von Goethe wrote a philosophical tragedy called simply “Faust” and many other versions have appeared ensuring that Faust and the Devil have maintained their high place in European culture. The most watchable of all the Faust legends is the opera by the 19th century French composer Charles-François Gounod, particularly in this brilliant production by David McVicar which was first seen at the Royal Opera House in 2004.
His depiction of Mephistopheles in his various guises, from smooth deal-maker to outrageously devilish villain, is glorious to behold. In Goethe’s version, Mephistopheles follows Faust home as a poodle before transforming into his true satanic self in Faust’s study. McVicar’s Faust is equally a master of transformation, appearing first as a well-dressed gentleman, later as a religious statue, and finally in a fetching black dress.
In all these guises, Mephistopheles is sung and acted with great power by the Uruguayan bass-baritone Erwin Schrott, who brings a wonderful devilish swagger to the role. The American tenor Michael Fabiano is also impressive as Faust, conveying very well both the joys and the anguish caused by his deal with the Devil.
The real star of the first night, however, was replacement’s replacement. The role of Marguerita, Faust’s love interest, was originally scheduled to be sung by the marvellous German soprano Diane Damrau, but a slipped disc caused her to drop out with only a week to go.
She was replaced by Russian soprano Irina Lungu, who in any case was schedule to take over the role later in the run at the Royal Opera. Then Lungu succumbed to a throat infection on the day of the opening and German soprano Mandy Fredrich was flown in from Stuttgart, where she was singing the same role.
She arrived only hours before the curtain went up, unrehearsed in this production of course, and was given a rapid walk-through before stunning the first night audience with an impeccable performance. This was her first performance at Covent Garden, and I think we shall be seeing much more of her.
With an enduring legend, great singing and acting, McVicar’s wicked imagination and some splendidly satanic choreography, this is a production well worth seeing.
Box Office: 020 7304 4000 or roh.org.uk (various dates until May 6).
Faust will be shown live in UK cinemas on April 30, with an encore screening on May 5 and will also be broadcast to cinemas around the world (see www.roh.org.uk/cinemas for details).
