La Damnation de Faust, Glyndebourne, 18 May 2019

Glyndebourne Opera House

Images: Richard Hubert Smith

Faust – Allan Clayton
Méphistophélès – Christopher Purves
Brander – Ashley Riches
Marguerite – Julie Boulianne

Richard Jones (director)

Sarah Fahie (assistant director, choreography)
Hyemi Shin (set design)
Nicky Gillibrand (costumes)
Andreas Fuchs (lighting)

Dancers

Glyndebourne Chorus (chorus master: Aidan Oliver)

Glyndebourne Youth Opera

Trinity Boys Choir

London Philharmonic Orchestra

Robin Ticciati (conductor)

There may be a case for staging Berlioz’s ‘dramatic legend’, The Damnation of Faust; it was certainly not made on this occasion. To be fair, here are arguments either way, not least with respect to Berlioz’s own wishes and practice, and there probably always be. This new Glyndebourne production, however, found itself stuck uncertainly, awkwardly, and most of all tediously, between various poles and possibilities. It seemed to lack belief in the work, or at least the wisdom of staging it as it stands, yet at the same time makes changes so half-hearted, arbitrary, and silly that one wishes it had not. Some of Richard Jones’s recent productions – for instance, anon-committal Bohème and a weirdly unfinished Katya Kabanova, both for Covent Garden – have suggested running out of steam; this did nothing to dispel the impression.

 

Much might have been salvaged in the event of a stronger musical performance. Alas, the festival’s music director, Robin Ticciati failed to provide it. I have yet to hear a performance from him that was not at least disappointing. Here, Ticciati offered a masterclass in the perverse art of rendering Berlioz bland and tedious to the point of non-recognition; only the following evening, listening to Colin Davis’s classic Philips LSO recording, did I feel reassured that, yes, I did know the work after all. Such lack of orchestral colour and warmth – the LPO strings sadly wasted through well-nigh absurdist lack of vibrato –married to inability to marry harmony and pulse, on the rare occasion that the latter were discerned, seemed to indicate not so much an æsthetic as mere incompetence. Notes, bars, phrased, paragraphs, even numbers drifted interminably, until suddenly an abrupt, stiff minor – very minor – eruption would occur: quite arbitrary, yet doubtless considered ‘exciting’ by some. Many paths might be taken to ignite the flame of Berlioz’s Romanticism, from Davis to Boulez, from Munch to Markevitch; a prolonged damp squib leading nowhere at all was what we heard here. When it could be heard, the LPO woodwind sounded gorgeous, not least in solo work. Too much, however, was relegated to the status of a dull backing-track to events on stage, such as they were.

 

Singing was better, if often unidiomatic. French is a notoriously difficult language in which to sing, especially for non-Francophone singers, but this was not straightforwardly a matter of nationality. Many of Julie Boulianne’s words were indecipherable, for instance, and she only really came into her own after the interval. Both Christopher Purves and Allan Clayton enunciated far more clearly. If the latter were not ideally cast, straining at the top, there was little doubting his commitment. A few tricky French corners aside, Purves seemed most at home, a sorely needed energising presence. The chorus had a few rocky moments, its female voices in particular; many of the performance’s stronger musical virtues were nevertheless to be found there.

 

What of Jones’s production? It certainly acknowledged the difficulty in staging the work at all, incorporating additional texts, ‘derived from Goethe’s Faust’, by Agathé Mélinand. Derivation, however, was sometimes oblique – not only because they were, oddly, delivered in French. (Surely English translation would have made more sense in this context.) As with much else, I was left feeling that less or (considerably) more would have been better. Having seen Frank Castorf’s Faust (i.e. Goethe) at the Berlin Volksbühne and heard of his work with Gounod’s version, I could not help but find this both non-committal and unfinished. A half-hearted rearrangement, trying to undercut Marguerite’s assumption by following it with ballet music (the ‘Menuet des feux follets’) in which Faust and his devils rejoiced and bared prosthetic genitalia seemed more to proclaim, ‘let us show our feminist credentials’, than actually to do so. Otherwise, a strange domestication, speaking more by default than of conviction, ruled. Presumably the idea was to show an everyday life that might have been Faust’s and Marguerite’s, but never could have been. By all means question, even negate Faust’s – and Berlioz’s – Romantic questing, but it really needs doing with greater verve and belief. This was often as tired as Ticciati’s conducting.

It is difficult to imagine any Berlioz staging of this memorial year matching, let along surpassing, Dmitri Tcherniakov’s magnificiently uncompromising Paris reassessment of The Trojans. If one does, all the better. However, given the uncomprehending hostility with which that met from many, the world seems likely to continue to receive more of what it most likely deserves.

 

VSO/Harding - Schumann, Scenes from Goethe's Faust, 22 November 2015

Konzerthaus, Vienna

Szenen aus Goethes Faust, WoO 3

Faust, Pater Seraphicus, Dr Marianus – Christian Gerhaher

Gretchen, Una poenitentum – Christiane Karg
Mephistopheles, Böser Geist – Alastair Miles
Marthe, Sorge, Magna Peccatrix – Christina Landshamer
Mangel, Maria Aegyptica, Mater Gloriosa – Gerhild Romberger
Noth, Mulier Samaritana – Jennifer Johnston
Schuld – Anna Huntley
Ariel, Pater Exstaticus – Andrew Staples
Pater Profundus – Franz-Josef Selig
Eine Büßerin – Elisabeth Erhenfellner
Chorus soloist – Michael Sachsenmaier

 Vienna State Opera Youth Chorus (chorus master: Johannes Mertl)

Wiener Singakademie (chorus master: Heinz Ferlesch)

Vienna Symphony Orchestra

Daniel Harding (conductor)

 

I have had to wait a long time to hear Schumann’s Scenes from Goethe’s Faust ‘live’, since, as an undergraduate, buying a second-hand copy of Britten’s recording. Perhaps there has been a London performance since I have become a regular concert-goer; if so, I have not noticed it. Quite why is baffling. It is, by any standards, a fine work, perhaps not so ‘individual’ as the Schumann we know from the piano music and songs, although perhaps that is as much a matter of our conception of ‘individuality’ as anything else. There is certainly ‘originality’ – that most Romantic of constructs, but a construct to which we all, if we are honest and not absurdly modish, remain rightly in thrall – in much of the orchestral writing, which whatever its kinship with the work of other composers, could hardly ever, perhaps could never, have been written by anyone else. Yes, it requires a good few soloists and a chorus, but so do many other works. And if Goethe notoriously told Eckermann that Mozart would have had to compose his Faust, then Goethe was notoriously wrong about all manner of things musical.

Comparisons more odious than usual presented themselves early on, given that I had heard Bernard Haitink and the Chamber of Orchestra just two nights earlier. Nevertheless, if Daniel Harding’s brisk way with the Overture, at least initially, was not how I hear it in my head, it had its own justification, and he showed himself perfectly willing to yield, rather beautifully, for the more ‘feminine’ – forgive the gendered language, but it is surely apt in this of all cases – music. A contrast between Faust and Gretchen was clearly being set up, both in work and in performance, and yet something in common too: in typically nineteenth-century terms, Eve was created from Adam’s rib. I need not labour the point by saying too  much about Robert and Clara. In any case, female voices are far from neglected as the work proceeds, Schumann almost careless in his requirements. And so, after that rather Harnoncourt-like opening, I had no quarrel, or even query, with Harding’s tempi. There was plenty of ebb and flow, and if there might sometimes have been more colour in the Vienna Symphony Orchestra’s response – not to mention a few too many fluffs in the brass department – there was good playing throughout, excellent in the more vigorous sections and often beguiling in the more ‘poetic’, sensitive passages. Choral singing was excellent throughout, too, both from the Wiener Singakademie, large in numbers yet lithe and lively, and from the young singers from the Opernschule der Wiener Staatsoper, winningly seraphic. The Dies irae passages properly chilled, yet without melodrama; musical values were always to the fore.

The solo singing was for me the highlight. Since he had the lion’s share of it, it is hardly surprising that I should mention Christian Gerhaher first and foremost. The beauty of his vocal delivery was matched to a tee by the acuity of his verbal response. These were clearly words that meant a great deal to him – they do, surely, to any German – but nothing was taken for granted. Gerhaher was not ‘just’ singing Goethe; he was singing Schumann’s Goethe. His shading and phrasing were such as one might have expected in a performance of Dichterliebe. There was, moreover, Faustian defiance, when called for; and drama worthy of the stage – if unstageable – in Faust’s death. Gerhaher’s roles in the Third Part were carefully differentiated; now he was one soloist among many. And those other soloists were an impressive bunch too; there was not a weak link in the cast. Christiane Karg offered a well-judged match of vocal refulgence and drama, again always founded in the text. Andrew Staples sounded every inch a Tamino in his roles, Schumann’s fantastic writing for Ariel benefiting from a meltingly Romantic evocation in vocal and instrumental terms. Alastair Miles proved a stentorian Mephistopheles, and Christina Landshamer a perky, intelligent soprano. Franz-Josef Selig sounded as his usual, beneficent self: always more than welcome. Ensemble writing was always well attended to, balances permitting Schumann’s lines to tell both contrapuntally and harmonically.

 

 

This is a work we need to hear far more often, but this was a good occasion on which to start. Like many, I really have not the slightest idea what Goethe meant by his ‘ewig-Weibliche’ panacea, and probably should rather keep it that way, but Schumann’s unexpectedly – even when one knows it – non-soaring conclusion offers, if not a solution, then, after the splendidly blazingly writing beforehand, a welcome deflection. That, moreover, was how it sounded here.

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