by Barbara Waldinger
Charles Gounod’s FAUST, currently playing at the Mahaiwe Performing Arts Center, is the Berkshire Opera Festival’s first foray (now in its ninth season) into French grand opera. Maestro Brian Garman (Artistic Director, co-Founder and conductor), explains what that entails: “intimate and heartfelt melodies, spirited and rousing choruses, and a story that is both engaging and timeless.” Some of the other elements of this large-scale genre include spectacular scenery, elaborate costumes, ballets, and a multitude of performers. The challenge is to figure out how to accomplish this within the confines of the Mahaiwe stage. Miraculously, Maestro Garman and Jonathan Loy (Director of Production, co- Founder, and Stage Director) have surmounted all obstacles, resulting in the creation of a glorious production.
The title character of the play is said to be loosely based on a sixteenth-century German– Johann Georg Faust– a reputed magician who, as the legend goes, gained his magic powers by making a pact with the devil to sell his soul for unlimited knowledge and worldly pleasures. Christopher Marlowe wrote an English version of this story: DR. FAUSTUS, in 1592. It took Goethe decades to write his German masterpiece: FAUST Parts I and II, which were completed in 1829.
Part Epic Poem and part play, it has proven nearly impossible to stage because of its enormous length and unachievable special effects. There have been hundreds of artists inspired by the Faust legend in classical and popular music, theatre, dance, film, puppet-shows, and operas. Gounod’s FAUST is based on Michel Carre’s French play FAUST ET MARGUERITE, which in turn is based on the first part of Goethe’s work. It was the latter who introduced Faust’s lover, Gretchen, to the story (Carre’s Marguerite). Both Carre and Jules Barbier are credited with writing Gounod’s libretto. Originally produced by the Theatre Lyrique in 1859, Gounod’s FAUST, with some additions and revisions (a ballet, recitatives instead of dialogue), was finally considered grand enough to be shown at the Paris Opera in 1869, where it has become their most frequently produced work. Selected in 1883 for the opening of the MET, it has been performed every season for over one hundred year.
On July 24 th , Garman and Loy offered a free FAUST preview—a look behind the scenes to discover what it took to produce this large-scale opera at a regional theatre. Many compromises were needed: Maestro Garman had to fit an entire orchestra in plain sight below the stage, removing three rows of seats in the process. The percussion and horn sections, as well as the single harp (the score asked for four) are located under stage boxes. Organ music heard during the dramatic church scene (when Mephistopheles, in priest garb, curses Marguerite for her sins), is played backstage on a keyboard, not an organ.
Director Loy had to cut several sections of the opera, including the famous Walpurgis Night ballet, a wild, legendary dance that happens annually on the eve of May Day. Because Saint Walpurga was known for battling witchcraft, bonfires are set to protect against evil witches. In the fifth act of the opera, as the chorus sings about souls of the departed who have been released, Mephistopheles leads Faust to observe the spectacle of the most beautiful women in history engaging in a chaotic and voluptuous dance. The scene is usually omitted because not only does it stop the action of the opera but also the expense of producing it is exorbitant.
In addition, Loy had to decide on a simple, practical set because there wasn’t room or a budget for spectacle. With the help of his Scenic Designer, Stephen Dobay, Loy created a “bridge to nowhere, to everywhere”: an upstage platform with a rotating staircase that could revolve to face in any direction. A brilliant, multi-functional concept, this bridge enables scenes to take place on and below it and on the steps or hidden behind them Minimal set, minimal props. So—how can this be grand opera? By means of the exquisite lighting (designed by Alex Jainchill), the wonderful costumes (Brooke Stanton), and the choreography (Andrea Beasom). Jainchill has generated exceptional lighting effects in this production: the brilliant colors projected on the upstage cyclorama, the shadow- play behind the cyclorama, the scrim (which can be opaque or translucent), and the downstage footlights that create otherworldly lights and shadows.
Costumes, though not specific, suggest the 17 th century Salem witch trials, accompanied by the use of fog, smoke, and haze, enhancing the supernatural atmosphere. Mephistopheles undergoes six distinct costume changes as he leads Faust to his doom. There is a full-sized chorus requiring various costumes, and the piece de resistance: two mesmerizing, menacing dancers, a male and a female, Mephistopheles’minions. They are the demons who worship the devil and help him to guide the action. They dress in red when seen, black when unseen. Loy is a master of breathtakingly dramatic stage pictures, which, combined with the ominous sounds of the orchestra, transport us into the world of Mephistopheles. The story is told from his perspective, as he magically transforms himself and everything around him to achieve his ends. He will serve Faust in this world, but it will be Faust who serves the devil in Hell. Justin Hopkins, with his bass voice, charming and sexy demeanor (which can change on a dime), sinister laugh, and surprisingly comic timing, is perfect as Mephistopheles. Watch him in the scene with Marguerite’s neighbor Marte (a delightful Abbegael Greene) as he flirts with her, allowing Faust and Marguerite to get to know one another. And notice the expertly choreographed movement of both couples.
Duke Kim (Faust), a remarkably expressive tenor whose voice and demeanor captivate us as he changes from an old scholar who gives up on life to a handsome young man. What he seeks is youth—rather than riches, power, or knowledge—and the love of a modest, innocent and beautiful young woman. His love duet with Marguerite is exceptional, as is his heartbreaking attempt to persuade Marguerite to escape from prison in an extraordinary trio, with Mephistopheles heightening the tension by warning that they are running out of time.
The journey of Marguerite (Raquel Gonzalez) from naivete to the height of passion, the depth of abandonment, the road to sin and madness, and to ultimate redemption feels like living a lifetime in a couple of hours. Gonzalez is such a versatile performer that she fills each moment with truthfulness and the power of her rich soprano. Her reaction to the jewels that Mephistopheles surreptitiously supplies is one of the highlights of this opera.
Other performances worth noting are those of Sun-Ly Pierce playing a trouser role as the young village boy Siebel, in love with Marguerite. Siebel must compete not only against Faust but also the devil himself. We sympathize with his fruitless attempts to win Marguerite while admiring Pierce’s lovely mezzo soprano. Valentin (Jarrett Porter), soldier and brother of Marguerite, projects both adoration for his sister, risking his life for her, and rage as she sinks deeper into sin. Unfortunately we don’t see much of Kyle Dunn, who plays Wagner, a student, but his energy is contagious and makes us wish for more.
How fortunate for all of us that the Berkshire Opera Festival has signed a multi-year residency at the Mahaiwe, so their future is assured and our enjoyment is guaranteed.
FAUST performs on Saturday, August 24 at 1:00pm, Tuesday, August 27 at 7:30pm, and Friday, August 30 at 7:30pm at the Mahaiwe Performing Arts Center. Tickets may be purchased by calling 413-528-0100 or online at http://www.mahaiwe.org.
Berkshire Opera Festival presents Charles Gounod’s FAUST. Directed by Jonathon Loy. Conducted by Brian Garman. Cast: Duke Kim (Faust), Justin Hopkins (Mephistopheles), Jarrett Porter (Valentin), Kyle Dunn (Wagner), Sun-Ly Pierce (Siebel), Raquel Gonzalez (Marguerite), Abbegael Greene (Marthe Schwerlein); and Chorus. Scenic Designer: Stephen Dobay; Costume Designer: Brooke Stanton; Lighting Designer: Alex Jainchill; Hair and Make-Up Designer: Beckie Kravetz; Choreographer: Andrea Beasom; Chorus Master and Assistant Coductor: Geoffrey Larson; Principal Pianist and Coach: Travis Bloom.
Production Stage Manager: Cindy Knight. https://www.berkshireoperafestival.org/
Running Time: 3 hours including a 25 minute intermission. Berkshire Opera Festival at the Mahaiwe, 14 Castle Street, Great Barrington, MA. From August 24; closing August 30.