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Opera News
December 1998 BERLIOZ: La Damnation de Faust
Subtitled a "Dramatic Legend in Four Parts," Berlioz' La Damnation de Faust (1846) was originally conceived as a concert opera, not intended for the stage. It is more suited to the studio than many other works, which may explain why there are more than a dozen recordings currently available of this relatively little-performed piece. However, apart from the classic 1959 Markevitch recording (re-released on CD by Theorema as TH 121170/171), most versions are mixed, with both good and bad elements. This new DG recording, conducted by Myung-Whun Chung, while not an exception, is overall quite interesting, especially due to Bryn Terfel's superb Méphistophélés. The Welsh bass-baritone once again shows remarkable insight and sensitivity in creating his characterization of Méphistophélés. From his first entrance, it is hard not to become wholly entranced by the devil's wry humor and sarcasm. (His sneer is audible when he addresses Faust as "doctor.") He seduces his audience as he seduces Faust. His voice is rich and dark, perhaps darker than most other Méphistophélés' (of Berlioz, that is), but it is beautifully textured and subtle, so that emotion shapes every note. Almost as shining and ardent as Terfel is dark and devious, Anne Sofie von Otter makes a beautiful Marguerite. Her voice is pure enough to seem angelic (as Marguerite is destined for heaven), yet sufficiently strong in color to convey Marguerite's intense love for Faust. This is most clear in "D'amour, l'ardente flamme," in which she declares her undying love knowing that she will never be united with Faust. She handles difficult passages with ease and maintains exquisite phrasing even when portraying overwhelming emotion. Brander is solidly sung by Victor von Halem, even though he does not always bring out the humor of the role. The weakest link in this ensemble, unfortunately, is Keith Lewis' Faust. Although he portrays an acceptably earnest, albeit passive, Faust, his voice cannot compass the full vocal range of the part. His lower register is quite lush and his phrasing good, but on higher notes he sounds narrow and nasal. In general, the performance is solid but lacks excitement, despite the bracing, full sound of the Philharmonia Orchestra under Chung. Even the departing Hungarian soldiers in Part I sound as if they were returning from war exhausted, rather than marching off to it full of ambition. The recording itself is a bit odd. The soloists seem to fade into the distance of the soundstage for large parts of the performance, only to leap out every now and then when close miked. This is especially distracting in Part I, in which Faust is almost inaudible until the entrance of the soldiers in Scene 3. If this was a deliberate attempt to sound "staged," as is often badly done with operas meant to be staged, it is an especially unfortunate choice here. - ALEX BAUER
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