SEEN AND HEARD INTERNATIONAL

Gounod, Faust: Soloists, Chorus and Orchestra of Teatro Argentino. Conductor: Benjamin Pionnier, Teatro Argentino, La Plata. 28.11.2010. (JSJ)

Director: Paul-Emile Fourny

Sets/Costumes: Graciela Galán

Lighting: Gabriel Lorenti

Chorus: Miguel Martínez

Cast:

Faust: Luca Lombardo / Leonardo Pastore

Marguerite: Paula Almerares / Daniela Tabernig

Méphistophélès: Homero Pérez-Miranda / Christian Peregrino

Wagner: Emiliano Bulacios / Juan Pablo Labourdette

Siébel: Cecilia Díaz / Gabriela Cipriani Zec

Valentin: Luciano Garay / Fabián Veloz

Marta: Matilde Isnardi / Claudia Casasco

Homero Pérez-Miranda (Méphistophélès), Paula Almerares (Marguerite)
and Luca Lombardi (Faust) top right among the demons.

Picture © genitti / teatro argentino

 
I have yet to see some director’s comments in a hand programme in Argentina and after another hard to understand production it remains a frustration not to have some inkling at least of the creative processes at work!

The confusion here was largely around the scenery, which had a modernity about it at odds with the dress, and was largely based around a pair of (budget?) frame-like constructions which were used in various combinations – separately as walls for Faust’s office in Act 1, together as a backdrop in the cathedral, and as a frame on which the witches and demons disported themselves like slithering snakes on Walpurgis night. Similarly inexplicable was the curtained stage that formed part of Marguerite’s garden, presumably to represent her as a performer in a drama. That said Méphistophélès’ appearance from the side of one of these, as if appearing from the underworld, into Faust’s office in Act 1 was highly effective, as was the appearance of Marguerite high up in one in the same Act, and so too were the demons and their writhing. Faust was played by the French tenor Luca Lombardi, who seemed mostly to look rather sad, but his voice was firm and resounded well.

Méphistophélès is the sort of role in which Homero Pérez-Miranda excels, and so it was here, showing his dark bass-baritone and acting to match at its best, his eyes particularly expressive. Likewise for Paula Almerares, who was superb as Marguerite, and her Jewel Song was memorable. Luciano Garay’s Valentin looked and sounded the hapless soldier that he is, and Cecilia Díaz’s Siébel was subdued. Matilde Isnardi made the most of her Marta, bringing some humour to the work, and Emiliano Bulacios was entirely satisfactory as Wagner.

The young French conductor Benjamin Pionnier kept a good hand on the orchestra, apart from the overture starting a touch on the slow side. The chorus too made the most of their involvement to ensure this was a worthy, if not entirely comprehensible production of a work that in Argentina, and specifically at the Teatro Argentino, has been so little performed.

Jonathan Spencer Jones