Editorial Reviews

This performance of Gounod's "Faust" truly captures the spirit of France's quintessential lyric opera. Based on Part I of Goethe's "Faust," the sad love story of Gretchen and Faust, Gounod's work perfectly exemplifies the elegant lyricism of the genre. The Faust theme is a Romantic subject par excellence, but the storms of Romantic ecstasy appear somewhat subdued in lyric opera. Andre Cluytens is a conductor of rare refinement: his serenely rendered "Introduction" not only establishes a standard of thoughtful articulation for the entire opera, but also provides a rich, elegantly articulated context for the soloists. Cluytens' authoritative conduction permits the soloists, all remarkably powerful artistic personalities, to fully assert their understanding of the opera. Singing the role of Mephistopheles, Boris Christoff introduces an appropriate element of agitation, taking advantage of a certain vocal roughness to impose his dramatic presence. There is nothing rough about the magnificent Nicolai Gedda, whose Faust is a paragon of fluent articulation, impeccable phrasing, and technical brilliance. For example, in the Act I aria "Mais, ce Dieu que peut-il pour moi?," Gedda masterfully articulates, with perfectly measured vocal intensity, Faust's moment of hubris when he challenges God. As Marguerite, Victoria de los Angeles bestows a gem-like brilliance to this performance. Her singing blends, in the most natural way, acrobatic virtuosity and captivating, expressive warmth. In the "Jewel" aria ("Un bouquet!...O Dieu! que de bijoux!") in Act III, she elegantly negotiates the extreme technical obstacles while offering an exceptionally soulful delivery. Finally, Marguerite and Faust's duet "O nuit d'amour, ciel radieux!," in Act III, Gedda and de los Angeles blend their artistic personalities in a musical synthesis of rare beauty and expressive power. Zoran Minderovic, All Music Guide

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