Faust at the Lyric Opera

Chicago’s Lyric Opera has a striking new production of Faust, Gounod’s most popular opera whose story is loosely based on Goethe’s most famous play.  The Wikipedia entry for the latter asserts that it “is considered by many to be Goethe's magnum opus and the greatest work of German literature.”  The basic story is well-known – a disenchanted, aging philosopher named Faust sells his soul to Mephistopheles in exchange for his earthly transformation into a dashing and attractive young man, especially, but not exclusively, so he can pursue the beautiful young maiden Marguerite.  Many suffer tragic consequences. 

Faust debuted in Paris in 1859 and has become a world-wide favorite.  Created in the French grand opera tradition, like many others of its kind it is so long that many productions scale it back.  Thankfully, the ballet is often omitted entirely.  Faust offers some wonderful music in addition to its thought-provoking story line.  But although there is beautiful, flowing music in this opera, little of it seems to show up in compilations of favorite opera selections.  The tenor aria “Salut, demeure chaste et pure” is the only one I’ve frequently encountered.  

The Lyric production featured terrific singing from the leads and the usual great vocals from the chorus.   French tenor Benjamin Bernheim played Faust in his American debut, Ana Maria Martinez played Marguerite in her one appearance in this role (Ailyn Perez sang the role in the other performances), Christian Van Horne played Mephistopheles, and Edward Parks was Marguerite’s brother Valentin.  The sets, although somewhat abstract in parts, were for the most part interesting and relievedly period-appropriate.  Taking in the Lyric production in sight and sound was a delightful way to spend a few hours.

Faust has evoked some strong feelings.  Despite being French and spending time studying in Italy, Gounod fell under the spell of Wagner.  In the Lyric Opera Companion, Dale Harris writes that after the appearance of Faust “accusations of ‘Wagnerism’ were leveled against [Gounod].”  Harris quotes one British critic who “accused [Gounod] of being to all intents and purposes a German composer ... and too much after the manner of Wagner to please the lovers of unadulterated music.”   Joseph Wechsberg writes in his masterful The Opera that “Gounod’s Faust remains one of the most popular works in the repertory, but compared to Carmen it is second-rate salon music...  The critics hate Faust and the public loves it.” 

Many music lovers take a different view.  The Lyric offers that “the score ... simply bursts with memorable music. Marguerite’s Jewel Song, the Soldiers’ Chorus, the spectacular final trio — these and much more make Faust a sublime experience.”  And the public does love it.  At the Lyric, in the last 50 years Faust has been the tenth most frequently-produced opera in the Italian and French repertory, with its six productions second only to Carmen of those by French composers.  Boito’s treatment of the same story in his opera Mephistopheles seems well-regarded, if not more regarded, by critics but has not been as popular with the public, as illustrated by its only two Lyric productions in the past 50 years – both in the 1990s. 

The moral of the Faust story is immortal.  Although the notion of literally selling one’s soul to the devil may strike a great many today as fanciful, selling out one’s principles and honor for some temporal advantage is not, so the story has lasting relevance.  Such folly is all the more tragic when committed by someone old enough to know better, for truly there’s no fool like an old fool.

R Balsamo