The high seriousness of the Faust legend is given a Gallic twist in this
typically French opera. Gounod's librettists, Michel Carré and Jules
Barbier, contented themselves with a love story that does not feature in
other versions, and any resemblance is to the Faust legend is little more
than that between Offenbach's Orpheus in the Underworld and the Greek
myth. (Nevertheless, the pedantic Germans chose to rename the opera
Margarethe). Either way, Faust comes closer to
operetta than grand opera and, needless to say, Beecham, takes it in his
stride. From the opening bars it is clear that here we have a crisp, lively
performance with, for its time, a remarkably clean and convincing sound from
both orchestra and singers, all without having to play the thirty-two sides
of the original 78 rpm recording made in EMI's Abbey Road studio.
Appearing in true pantomime fashion (through the floor in a flash of red
light) Mephistopheles makes a pact that grants the old philosopher eternal
youth in exchange for his soul, producing an image of Marguérite to
clinch the deal. Again like panto, the devil has many of the best tunes.
Roger Rico's excellent Mephistopheles makes his mark early in the opera with
a thrilling, fast-paced Le veau d'or (the "golden calf" aria) and
continues with an impressive presence throughout, especially in the mocking
"serenade", Qu'attendez vous encore? in Act IV. George Noré's
lightish tenor is at its best in the romantic scenes, but rises nobly to
the occasion when, in the last Act, Faust gets his come-uppance. Geori
Boué, a pleasingly youthful Marguérite, copes easily with the
bel canto demands of her part in such arias as the famous "jewel song",
in Act III.
It could hardly be said that Faust has maintained the high reputation
it had in the nineteenth century operatic repertoire, and this vivacious
performance is a welcome opportunity to re-evaluate the delicious melody
and subtle characterisations that Gounod distils from what, in other versions
(for example. Boito's Mefistofele (1868)) can seem a somewhat turgid
subject for a lengthy opera. It needs no better champion than Sir Thomas
Beecham to realise the drama and pathos of this delightful score with wit,
intelligence and panache. Faust is high on the list of successes in
this Naxos series of "historic" recordings, and makes a good case for performing
the opera in its original French.
Roy Brewer
Faust: Georges Noré,
tenor
