Premiered in Paris in 1859, Gounod’s Faust was an instant success and even today remains one of the most popular of all French operas. Its libretto was based on Michel Carré’s adaptation of his own stage play Faust et Marguerite, which in turn was loosely fashioned after Goethe’s two-part tragedy. “The staging was entrusted to a visionary director, Stefano Poda” (La Stampa). “A triumph that will long remain in the annals as one of the most brilliant stagings not only in this theatre but in any of today’s opera houses … An extraordinary spectacle” (ResMusica).
Faust
By placing a giant black ring centre-stage that casts an ominous shadow over the singers and dominates the action, director, set and costume designer Stefano Poda has moved the storyline of the restless searcher Faust, to an abstract, seemingly futuristic hall, thereby ensuring that the most fascinating stage moments are not due only to sophisticated lighting. Thanks to the excellent and enthusiastic cast, Poda deftly guides the opera to triumph. Charles Castronovo in the title role is especially convincing, with his brilliant acting and mellifluous singing. Russian bass Ildar Abdrazakov – a regular in all major opera houses around the world – stars as the demonic Méphistophélès. As the innocent young girl Marguerite we see Moldovan soprano Irina Lungu, who demonstrates her ability with crystal-clear timbre.