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Berlioz, La Damnation de Faust:  (Concert Version) Soloists, Orquesta Sinfónica de Madrid. Coro Nacional de España. Conductor: Nicola Luisotti. Teatro Real de Madrid. 7.05.2009 (JMI)

Cast:
Faust: Piotr Beczala.
Marguerite: Olga Borodina.
Mephistopheles: Ildar Abdrazakov.
Brander: José Antonio López.

Berlioz’s La Damnation de Faust closed a season themed around operas based on the Faust myth. It has been little seen in opera houses in Spain with just the occasional outing in the concert hall.

Hector Berlioz is one of the most important figures in the history of music, but his operatic efforts fail to reach the heights achieved by the symphonies and overtures. He was devoted to the literary classics and his operas are based on the works of his favourite authors. Les Troyens faithfully follows the story of Virgil in the “Aeneid” and Beatrice and Benedict is based on Shakespeare’s “Much ado about nothing”. The present work follows Goethe’s “Faustus”. All three operas have moments of greatness, although a certain lack of sustained inspiration has resulted in their being fairly rarely performed nowadays. Many of the pages of La Damnation de Faust shine with inspiration. These include the Hungarian March, the Minuet of the Devils, Faust’s invocation to nature and the Aria “D’amour l'ardente flamme”. These highlights notwithstanding the work lacks sufficient grip to hold the preferences of the great public.

We should start defining whether this is an opera or an oratorio. In fact, The Damnation of Faust was premiered in a concert version and almost half a century passed before it was performed on stage. Nowadays the work is offered in both versions. There have been some brilliant examples, beginning with what La Fura presented in Salzburg, then the very bright production by Robert Lepage premiered this same season at the New York Metropolitan and most recently the revival in Geneva by Oliver Py.

The triumphant success of the present performance is down to Italian conductor Nicola Luisotti returning to Teatro Real after his success in Il Trovatore some two years ago. It is incredible that this is the first time that Luisotti has conducted the work, so impressive is his command of the score in all its aspects. This artist breathes music through all his pores. I confess that I had doubts as to his aptitude outside the sphere of Italian opera. I have them no more. The results here are magnificent and simply unsurpassable. This man is a MUSICIAN (in capital letters) and transmits such energy that one’s attention is held in an unwavering magnetic grip. The sound he drew from the orchestra of Teatro Real was surprising; indeed miraculous. That this orchestra was the same one that interpreted Schumann’s Faust Szenes two weeks ago is astonishing. I had never before heard them on such good form. They must believe in this conductor to offer their best and to be open to establishing such a deeply impressive communion. After such an extraordinary performance it was all the more significant that the orchestra shouted bravos to Mr. Luisotti. San Francisco is very fortunate to have him as musical director. I can only hope that he returns to Spain soon. Bravo Maestro Luisotti!

The Teatro Real vocal line-up comprised a trio of big names. The most important voice was that of Olga Borodina, the most beautiful one that of Piotr Beczala, whereas the best interpreter was lldar Abdrazakov.

The Faust protagonist was Polish tenor Piotr Beczala, who was making his debut in Madrid’s Teatro Real. I had many doubts as to how he would cope with the part. Its greatest challenge is that Berlioz demands an impossible tessitura during the second half of the opera. Here is a composer who seems not to know how to write for the tenor voice, although I rather believe that the singing technique current in his times was very different to what is current now. Something very similar happens with Aeneas in Les Troyens and with the main protagonist in Benvenuto Cellini. Beczala here sang the part of Faust wonderfully, with a polished line and made intelligent use of his very beautiful voice. On occasion I noted that he took refuge in a slightly miscalculated falsetto at the most difficult moments.

Russian mezzo-soprano Olga Borodina made an eminent Marguerite, although her voice and style are not the most appropriate for this character. She continues to have a very beautiful and wide-ranging voice, with a remarkable middle register, sumptuous bottom range, and an upper register that shows evidence of hardening with the passage of years. Today she is more Delilah than Marguerite. It seemed to me that her “D'amour l’ardente flamme”, lacked sensuality and emotion.

Her husband in real life, Ildar Abdrazakov was the production’s Mephistopheles and offered the most complete performance of the lead trio. He sang wonderfully, with enormous expressiveness, affection and irony. He seems to be very comfortable in-part and I find it difficult to think of a better contemporary interpreter for the role.

Baritone Jose Antonio Lopez took the part of Brander. This role is not very important, but any singer who takes this on must face the important Chanson du Rat, where Lopez proved powerful but not wholly convincing.

There was a full house but audience reaction was below what could reasonably have been expected and deserved. There was a warmish reception, even some cheers, but not at all in keeping with this exceptional musical performance.

José M Irurzun


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