GOUNOD Faust (Matvejeff)
View record and artist detailsRecord and Artist Details
Composer or Director: Ville Matvejeff, Charles-François Gounod
Genre:
Opera
Label: Naxos
Magazine Review Date: AW2019
Media Format: CD or Download
Media Runtime: 179
Mastering:
DDD
Catalogue Number: 8 660456
Tracks:
Composition | Artist Credit |
---|---|
Faust |
Charles-François Gounod, Composer
Aljaž Farasin, Faust, Tenor Carlo Colombara, Mephistopheles, Bass Charles-François Gounod, Composer Croatian National Theatre Chorus Croatian National Theatre Orchestra Diana Haller, Siébel, Mezzo soprano Ivana Srbljan, Marthe, Mezzo soprano Lucio Gallo, Valentin, Baritone Marjukka Tepponen, Marguerite, Soprano Ville Matvejeff, Composer Waltteri Torikka, Wagner, Baritone |
Author: Hugo Shirley
Captured in a small-scale sound stage, the Orchestra of the Croatian National Opera in Rijeka is scraggly-sounding, some deft playing from the winds notwithstanding, and the chorus is on the raw, undernourished side. Ville Matvejeff conducts fluently and is especially effective in the more lyrical passages. But he fails to conjure up the necessary excitement or tension in certain key early scenes – the early duet between Faust and Méphistophélès feels especially tepid. Happily, he improves as the evening progresses, firing the drama convincingly in the final two acts.
And the cast? Colombara is a woolly, avuncular and rarely threatening devil but I find myself warming to him nonetheless – a strangely likeable Méphistophélès. Aljaž Farasin has the notes as Faust but none of the grace or seductiveness; his tone is opaque and gravelly where it should be liquid and honeyed, and there is little sense of rapport or sparring between him and Colombara. Gallo’s hectoring, ragged Valentin is best skated over, likewise Ivana Srbljan’s fruity Marthe, who arguably takes the prize – in a competitive field – for the least French-sounding French.
But there are a couple of lovely performances at the other end of the spectrum. Diana Haller is a charming Siébel, whose ‘Si le bonheur’ is a highlight. Marjukka Tepponen makes a youthful and moving Marguerite; and it’s largely thanks to her, and to Matvejeff finding his feet in the second half, that the performance proves dramatically rewarding – we’ve by no means got an outstanding night at the opera here but I found it slowly won me over on its own terms.
Finally a word about Naxos’s presentation. We are told this is the ‘London version, 1864’, which is a somewhat grand quasi-musicological name for what’s essentially the score’s final version (as on any other recording), but without the ballet that was added for the opera’s triumphant return to Paris in 1869.
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