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Royal Ballet and Opera

Opéra de Monte-Carlo

Opéra de Lille

Teatro Verdi di Trieste

Maestro

Maestro (+1)

Maurizio Benini

Tenor

Stefan Pop

Faust

Barítono (+1)

Boris Pinkhasovich

Valentino

Mezzo-soprano (+2)

Rosie Aldridge

Marta

Baixo-barítono (+2)

Ossian Huskinson

Wagner

Orchestra

Orchestra of the Royal Opera House

Mestre de Coro

Mestre de Coro (+2)

William Spaulding

Diretor de Palco

Diretor de Palco (+5)

David McVicar

Cenógrafo

Cenógrafo (+3)

Charles Edwards

Estilista

Estilista (+1)

Brigitte Reiffenstuel

Designer de Iluminação

Designer de Iluminação (+2)

Paule Constable

Coreógrafo

Diretor de Palco (+1)

Michael Keegan-Dolan

Royal Opera House

Soprano

Carolina López Moreno

Margarete

Chorus

Chorus of the Royal Opera House

Mezzo-soprano (+4)

Hongni Wu

Siébel

Baixo-barítono (+5)

Erwin Schrott

Mefistófeles

Baixo (+4)

Ildebrando D'Arcangelo

Mezzo-soprano (+1)

Cai Jingwen

Seductive as it is damning, Faust comes alive in David McVicar’s spectacular production. Stefan Pop sings the title role, alongside Erwin Schrott’s Méphistophélès and Lisette Oropesa’s Marguerite. Maurizio Benini conducts.

AN EPIC INSPIRATION
Gounod's Faust (1859) was one of the world's most popular operas from the 1860s to World War II, and remains an important work in the repertory of The Royal Opera. The story, adapted by Gounod's librettists Jules Barbier and Michel Carré from Carré's play Faust et Marguerite, is based on Part I of Goethe's epic poem Faust, which was a major inspiration for many composers during the 19th century and beyond. Gounod added a ballet to Act V when Faust received its first Paris Opera staging in 1869.

A JOURNEY THROUGH PARIS 
David McVicar's wonderfully theatrical production draws insightful parallels between Faust and Gounod, a composer torn between piety and worldly and romantic success. Sets and costumes by Charles Edwards and Brigitte Reiffenstuel pay tribute to the art and architecture of 1870s Paris, and include a colourful Cabaret d'Enfer, a run-down tenement block and re-creations of a box at the Paris Opera and the organ loft of the cathedral of Notre-Dame. The variety of settings mirrors the variety in Gounod's score, highlights of which include Méphistophélès' demonic aria 'Le veau d'or (The golden calf)', Marguerite's dazzling 'Jewel Song', the Act IV Soldiers' Chorus and Act V's impassioned trio as Marguerite struggles to achieve salvation.

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