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Royal Ballet and Opera

Opéra de Monte-Carlo

Opéra de Lille

Teatro Verdi di Trieste

Дирижер

Дирижер (+1)

Maurizio Benini

Тенор

Stefan Pop

Фауст

Баритон (+1)

Boris Pinkhasovich

Валентин

Меццо-сопрано (+2)

Rosie Aldridge

Марта

Бас-баритон (+2)

Ossian Huskinson

Вагнер

Orchestra

Orchestra of the Royal Opera House

Хормейстер

Хормейстер (+2)

William Spaulding

Режиссер-постановщик

Режиссер-постановщик (+5)

David McVicar

Художник-постановщик

Художник-постановщик (+3)

Charles Edwards

Художник по костюмам

Художник по костюмам (+1)

Brigitte Reiffenstuel

Художник по свету

Художник по свету (+2)

Paule Constable

Хореограф

Режиссер-постановщик (+1)

Michael Keegan-Dolan

Royal Opera House

Сопрано

Carolina López Moreno

Маргарита

Chorus

Chorus of the Royal Opera House

Меццо-сопрано (+4)

Hongni Wu

Зибель

Бас-баритон (+5)

Erwin Schrott

Мефистофель

Бас (+4)

Ildebrando D'Arcangelo

Меццо-сопрано (+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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