Faust been changed into a suicidal nuclear scientist in ? Does the action takes place in his lab? Is the opera apparently a dream that takes place between his drinking the poison and finally snuffing it? I must say I never had the chance to watch a live production of Faust, much less with the spectacular production values typical of the Met.
So the HD live worldwide transmission was unique. Gounod's score is fabulous. So is Marina Poplavskaya's Marguerite. Overall Faust does come to life. Costumes and sets are fine and inventive. The camera work is suitably smooth as usual, including revealing close-ups. Details Edit. Release date August 31, Japan. Official Site - Blu-ray. Faust drinks the potion and transforms into a lovely, young man. The two venture out in search of Marguerite. He causes wine to flow from an old barrel and provides everyone with alcohol.
He says a malign toast towards Marguerite, and Valentin intervenes. At that moment Valentin knows who he is dealing with and uses the hilt of his sword as a cross, hoping to get away from the devil. Faust pulls Marguerite aside and tells her that he admires her, but she politely declines his advances. Faust sees this and sends the devil out to search for a better gift. The devil returns with an ornate box filled with exquisite jewelry.
A while later, Marguerite's neighbor arrives and spies the ornate box. She tells Marguerite that she must have an admirer. Marguerite tries on the magnificent jewels and falls in love with them. Faust and the devil make their way into the garden and visit with the two ladies. The devil flirts with Marguerite's neighbor so that Faust can speak to Marguerite alone. The two steal a quick kiss, but she sends him away.
The two men leave, but stay close to her house. Inside, Marguerite sings a song, wishing Faust would return. Faust jumps at the chance and knocks on her door. The piece ends with a beautiful adagio of the solo violin. He has recorded this aria repeatedly.
In this recording we see him in a television production. He turns into a tender, romantic lover. His singing and playing is of great naturalness, as is the high C.
Caruso, who had a rather baritonal voice, showed trouble with high notes at the beginning of his career. Synopsis : Mefisto is back, carrying a box of jewellery under his arm.
Faust moves away from the house and observes it from a listening distance. Marguerite appears in a thoughtful mood, remembering her late mother and sister.
She sits at the spinning wheel and sings the ballad of the King of Thule. She remembers the young man she had seen on the market square. Who might he have been? She liked him, but she was too shy to talk to him. The ninth scene of the third act is made of two highlights of the opera. Marguerite first sings the ballad of the King of Thule and then the famous jewel aria.
Thule is an island in the Arctic Sea, perhaps Iceland, where a woman sings melancholically about grief, death and eternal love. Marguerite has lost her mother and her little sister.
Now her brother is a soldier, whom she may never see again. She feels lonely. Callas has wonderfully captured the melancholy of the song. She can impressively sing the different mood changes Margarete goes through in this aria. When she sees the jewellery box, she drops the simple bouquet. Fascinated, she tries on the jewellery. Now she feels like a princess. If only the stranger were with her now and could see her. Most of this opera is written for a lirico-spinto soprano, a dramatic soprano that can faithfully represent the entire spectre of feelings: She must depict the innocence of the young woman, then the lover of Faust, the faithful churchgoer, then the tragically abandoned and finally the insane, imprisoned.
In this aria, the music of the coquettish young woman, spiked with ornamentation, is added. So this piece requires the voice of a lyrical coloratura soprano. This wide range of requirements makes Marguerite one of the most demanding roles in opera literature and is therefore difficult to fill.
There are recordings of this opera by two of these singers. We hear the interpretation in 2 recordings. First Angela Gheorghiu and then the quoted Maria Callas. Next is Maria Callas. It is fantastic what vocal nuances she can get out of the aria. Synopsis : Her neighbour Marthe appears and admires Marguerite adorned with jewels. As they chat, Faust and Mefisto appear. To lure Marte away from Marguerite, Mefisto invents the story that he comes to tell her that her husband has died.
Soon he courts her, because she needs a new one now. Marthe feels flattered and takes him for a walk. Faust and Margarete are now alone. Margarete tells of herself that she is all alone. Mother and sister have died and her brother is at war. Synopsis : Mefisto leaves Marthe and conjures up a romantic atmosphere for the two lovers. This poetic twilight, this musical moonlight, which caresses the listener, enchants and enchants him little by little, and is filled with an excitement that increases until the very end, is admirable.
And this, I believe, is the masterpiece of the score. Synopsis: Months later. Marguerite is expecting a child. Costume designer Brigitte Reiffenstuel.
Lighting designer Paule Constable. Choreographer Michael Keegan-Dolan. Revival choreographer Emmanuel Obeya. Faust 17 —29 July Online only.
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