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By Eman Isadiar Opera lovers, rejoice! San Francisco Opera's dry season which lasts from late November to early June is finally over with the opening of Gounod's Faust on June 5 at the War Memorial Opera House. The opera features Italian tenor Stefano Secco in the title role, Canadian bass-baritone John Relyea as Mephistophélès, and American soprano Patricia Racette as Marguerite.
 John Relyea (Mephistophélès, center) surrounded by villagers and soldiers in SF Opera's Faust -- Photo by Cory Weaver |
French composer Charles Gounod based the opera on the dramatic work by German writer and philosopher Johann von Goethe. The story's main character, Doctor Faust, is an aging scholar who is convinced that his life has been a total waste. On the brink of suicide, an incarnation of the devil named Mephistophélès appears and offers him a second chance at youth and love in exchange for eternal servitude in the afterlife. Faust accepts and is transformed into his past youthful self.
Caught in the middle of the unholy bargain is Marguerite, a young woman known for her purity and virtue. Her brother and only living relative, Valentin, conveniently ships off to war leaving her vulnerable to Faust's romantic overtures. She cannot resist him for long and becomes pregnant and subsequently a social outcast. Valentin returns from war only to find himself disgraced by Marguerite's shameful indiscretion. He attempts to avenge her honor by challenging Faust to a duel, but he is no match for the dark forces at work. Fatally wounded, Valentin curses his sister and dies.
In the final scene Marguerite is in a prison cell awaiting execution for killing her child. Faust magically appears and offers to help her escape, but she refuses. As morning breaks, Marguerite climbs the long and steep stone staircase to embrace both death and redemption. Faust has no choice but to fulfill his end of the contract.
Making his role debut, tenor Stefano Secco left a deep impression as Faust with his haunting love song“Demeure chaste et pure” (“Chaste and Pure Abode”), in which he blesses the walls of the home where his love resides.
Dramatic soprano Patricia Racette was as captivating as ever as the heartbroken and forlorn Marguerite. Her aria “Si belle en ce miroir” (“So Beautiful In This Mirror”) was one of the most uplifting moments of the opera. Racette's is a familiar voice on the War Memorial stage. Her stunning performance last fall in all three operas of Il trittico will be remembered for many seasons yet to come.
Bass-baritone John Relyea gave a powerful interpretation of the character of Mephistophélès. His role was the single most important dramatic pillar on which rested much of the premise of the story. His opening duet with Faust “Me voici” (“Here I Am”) got the opera off to an intense start. A particularly chilling Relyea moment was in Act 2 when Mephistophélès mockingly offered an apple to the statue of the Holy Virgin in the garden, in a subtle biblical reference mixing Old and New Testaments.
Baritone Brian Mulligan masterfully sang the role of Valentin. His dying aria “Ecoute-moi bien, Marguerite”(“Mark My Words, Marguerite”) was an emotional high point of this production. Soprano Daniela Mack brought much depth to the counter-gender part of Marguerite's young admirer, Siébel.
The orchestra provided a uniquely rich musical backdrop under the capable direction of guest conductor Maurizio Benini. San Francisco Opera's renowned chorus gave another solid performance as the villagers and soldiers led by chorus director Ian Robertson. Credit must also be given to stage directorJose Maria Condemi for the superb acting and overall dramatic cohesion.
A production of the Chicago Lyric Opera, Faust is presented by San Francisco Opera through July 1. The summer opera season also includes concurrent performances of Puccini's The Girl of the Golden Westand Wagner's Die Walküre.
In the final scene Marguerite is in a prison cell awaiting execution for killing her child. Faust magically appears and offers to help her escape, but she refuses. As morning breaks, Marguerite climbs the long and steep stone staircase to embrace both death and redemption. Faust has no choice but to fulfill his end of the contract.
Making his role debut, tenor Stefano Secco left a deep impression as Faust with his haunting love song“Demeure chaste et pure” (“Chaste and Pure Abode”), in which he blesses the walls of the home where his love resides.
Dramatic soprano Patricia Racette was as captivating as ever as the heartbroken and forlorn Marguerite. Her aria “Si belle en ce miroir” (“So Beautiful In This Mirror”) was one of the most uplifting moments of the opera. Racette's is a familiar voice on the War Memorial stage. Her stunning performance last fall in all three operas of Il trittico will be remembered for many seasons yet to come.
Bass-baritone John Relyea gave a powerful interpretation of the character of Mephistophélès. His role was the single most important dramatic pillar on which rested much of the premise of the story. His opening duet with Faust “Me voici” (“Here I Am”) got the opera off to an intense start. A particularly chilling Relyea moment was in Act 2 when Mephistophélès mockingly offered an apple to the statue of the Holy Virgin in the garden, in a subtle biblical reference mixing Old and New Testaments.
Baritone Brian Mulligan masterfully sang the role of Valentin. His dying aria “Ecoute-moi bien, Marguerite”(“Mark My Words, Marguerite”) was an emotional high point of this production. Soprano Daniela Mack brought much depth to the counter-gender part of Marguerite's young admirer, Siébel.
The orchestra provided a uniquely rich musical backdrop under the capable direction of guest conductor Maurizio Benini. San Francisco Opera's renowned chorus gave another solid performance as the villagers and soldiers led by chorus director Ian Robertson. Credit must also be given to stage directorJose Maria Condemi for the superb acting and overall dramatic cohesion.
A production of the Chicago Lyric Opera, Faust is presented by San Francisco Opera through July 1. The summer opera season also includes concurrent performances of Puccini's The Girl of the Golden Westand Wagner's Die Walküre.
Eman Isadiar is a San Francisco-based pianist and music journalist.
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