by John Quinn

Article:9685; Posted: May 11, 2015 at 10:00 a.m.

Charles Gounod’s Romantic opera, “Faust,” was insanely popular in its 1859 debut and remains in the top 20 of most produced operas. As Michigan Opera Theatre revives the work to close its spring season, conductor Steven Mercurio’s gives a thoughtful interpretation of the exquisite score, unearthing one of the reasons for “Faust’s” popularity. The music is lush, wondrously lyrical, yet robust to the point of bombast. There remains an understated playfulness that provides a ray of hope in even the darkest times.

“Faust” is full of dark times. “Faust” is not only enduring opera, it is a timeless morality play in which the theme touches the essence of the human condition. In the eternal struggle between good and evil, what is the individual’s best interest — altruism or selfishness?

Gounod selected bits of Johann Wolfgang von Goethe’s tedious dramatic poem about an old philosopher who makes a deal with the devil to become young again as the narrative structure of his opera. Faust has been a student too long, and missed out on the finer things in life. His curses attract the attention of the devil Mephistopheles who, through a vision, reminds the pedant that what he missed was wine, women and song – especially that middle one. Faust’s deal with the devil: his immortal soul in return for youth.

The object of Faust’s revived passions is the innocent Marguerite. After seeing her brother (the powerful baritone John Viscardi) off to war, Marguerite receives multiple assurances of protection, but can only count on the reliable kid with a crush, Siebel (Kimberly Sogioka, in yet another example of a Romantic conceit, the “trousers role”). There is no protection from the sophisticated but rapacious Faust. Goaded by his demonic guide, he seduces and then abandons Marguerite.

For all but the May 17th performance, the title role is sung by young tenor Russell Thomas in his first outing in the part. Likewise performing Marguerite all but on the 17th is Detroit native Caitlin Lynch, still a rising star and also performing the role for the first time. Their voices are extraordinary. Rich and textured, as multifaceted as the gems in the Devil’s jewelry box, they convey technical skill and emotional sensitivity that are the meat and potatoes of grand opera. At this stage of their development, they still have skills to be mastered; largely in control, certainly not in pitch. The power and precision Gounod demands in their upper register is there every time.

Perhaps it is a sign of our decadent times that The Devil doesn’t command as much respect as he did once. But an encounter with Matt Boehler can put the fear of God back into a person. While there is no sympathy for this devil, Boehler and his rock-solid basso swashbuckles through the role of Mephistopheles with gusto and a gleeful leer. If we are to learn from “Faust,” we now know why evil is so attractive–it gets all the good lines.

3 hours 10 minutes, 2 intermissions

SHOW DETAILS
Faust
Michigan Opera Theater
Detroit Opera House, 1526 Broadway, Detroit
May 9, 13, 16 evenings at 7:30; May 17 matinee at 2:30 p.m.
Check website for ticket prices
(313) 237-7464
www.michiganopera.org