Review: FAUST, Royal Ballet And Opera

Celebrating its sixth revival, David McVicar’s critically acclaimed production of Faust is a spectacular success with stunning sets and costumes, a magnificent cast, and some of Gounod’s greatest music.

Gounod’s masterpiece is a poster child of French grand opera with a giant cast, huge orchestras, and bombastic music. The plot may lack the complexity of Goethe’s original play, but it emphasises Faust’s yearning for youth, love, and sensuality after a life seemingly wasted on scholarly pursuits. McVicar sets his production in 1870s Paris where French nationalism is juxtaposed with traditional religious piety; Charles Edwards’s magnificent sets include the organ loft at Notre Dame, the façade to Cabaret d'Enfer, and more. Paired with Brigitte Reiffenstuel’s period costumes - including the devil wearing drag during the Walpurgis night scene - this becomes a true visual feast.

Stefan Pop plays the title role, and his smooth lyric tenor brings a relaxed tone to many of his scenes; in the more dramatic conclusion he also hardly staggers. Carolina López Moreno, making her Royal Opera debut, is a wonderful Marguerite. With beautiful phrasing and oozes of power, she is a tremendous sight to behold. Adam Palka as Méphistophélès is both an outstanding actor and singer, providing his character with nonchalance while also being suitably menacing in his devilry; he truly shows the allure of his side. Boris Pinkhasovich’s Valentin receives tremendous applause after "Avant de quitter ces lieux."

The production also succeeds in impressing with amazing choreography by Michael Keegan-Dolan. The ballet sequence during the Walpurgis night scene begins traditional but soon descends into madness with an orgy at the conclusion; in the cathedral, demonic dancers pursue Marguerite; there’s always something of interest going on. It’s a performance that doesn’t shy away from adding luminous details whenever it can to enhance the spectacle.

All the while, conductor Maurizio Benini guides the Orchestra of the Royal Opera House with his usual expertise, bringing Gounod’s exquisite music to life.

While McVicar may lean into the melodrama of this opera, he certainly hits the right tone. Becoming immersed in this production is an experience worthy of every second; the whole package just works nicely together to become that wonderful mixture of eerie and entertaining that you'd expect from a gothic opera. A great success, throughout.

Faust is at the Royal Ballet And Opera until 10 June