Few legendary figures have inspired more literary, cinematic, ballet and musical works than Faust. Numerous symphonic and operatic pieces have been written by famous composers such as Berlioz, Beethoven, Wagner, Schumann, Liszt, Mahler and more. The most famous opera, Faust, was written by Charles Gounod, which is also touted to be the composer’s best operatic work. The Canadian Opera Company has a brand new production that is a pleasure to the eyes and ears.
The aging Faust is disillusioned with life and is about the end it with poison. Blaming God for his misery, he sarcastically appeals to Satan for help, not expecting his call to be answered by the instant appearance of the devil. Méphistophélès offers Faust anything he desires, in exchange for his soul. Faust desires to return to his youth; he accepts the devil’s terms and becomes a young man again.
Faust falls madly in love with the young Marguerite, only to abandon her later for other pleasures in life. The heart-broken Marguerite goes mad, and is imprisoned for killing her own baby. Overwhelmed with remorse, Faust returns to her and tries to save her. Despite Méphistophélès condemning her before she dies, Marguerite’s soul is saved when she rejects the devil and appeals to God for mercy.
A scene from the Canadian Opera Company’s new production of Faust, 2024. Photo: Michael Cooper
This new production by Amy Lane is set in the 1930s. Emma Ryott’s deceivingly simple set is an unexpected imagery of a living body—trees with branches resembling bronchioles, a lung x-ray in the backdrop, and a massive staircase in the shape of the spine. Even though much of the background and costumes are black, the clever use of lighting and inventive costumes (think shrimp cocktail, baguettes, cheese and fruits worn as colourful headpieces by market vendors) add striking visual effects to emphasize shifts in emotions.
The singing is no doubt the strongest suit in this production. The COC has cast a winning duo of young Chinese singers making their Canadian debuts in the lead roles. Tenor Long Long (not to be confused with the famed pianist Lang Lang) is a natural Faust, with a golden sound that carries even in pianissimo. His versatile range soars from a deep baritone to glorious high Bs and Cs. His “Salut demeure chaste et pure” is a fine showcase of his nimble instrument. Also an expressive actor, his displays of despair, fervent love and grief are convincing.
Guanqun Yu as Marguerite and Kyle Ketelsen as Méphistophélès in the Canadian Opera Company’s new production of Faust, 2024. Photo: Michael Cooper
Soprano Guanqun Yu dazzles with her understated and delicate portrayal of the timid and innocent Marguerite. Her beguiling voice has a shimmering quality, and her high notes ring with pureness and clarity. She shows remarkable control in the “Jewel Song,” effortlessly delivering fast scales, trills, and an exquisite high B at the end. Where power demands, she unleashes the requisite tone. There is genuine chemistry between the two leads, and their tender love scenes are the most sublime musical moments in the opera.
Kyle Ketelsen (Méphistophélès) is a full-bodied baritone. I had imagined his character to embody the extremes of charisma and evilness at the same time. Ketelsen’s version is in the middle of the spectrum, but he thankfully sings with incisive bite and dials up the evilness in the second half.
Baritone Szymon Mechliński sings Valentin, Marguerite’s protective brother. He sings mightily, yet monochromatic, but is redeemed by an impassioned rendering of Valentin’s final scene, in which he curses Marguerite before being mortally wounded by Faust.
A scene from the Canadian Opera Company’s new production of Faust, 2024. Photo: Michael Cooper
Completing the cast are recent Ensemble Studio graduate Alex Hetherington as Siébel, Marguerite’s young admirer, and Megan Latham as Marthe. Both Canadian mezzos bring rich sounds and ardour to their regrettably small roles.
Dance is an important featured element in this production. The two cabaret dancers acting as Méphistophélès’ sidekicks add comical effects (like when they had the men erupting in a can-can dance during the soldier’s chorus in Act III), but can also feel distracting at times. In the “jewel scene,” a pair of glittering ballet dancers become the living embodiment of dancing figures in the music box filled with jewels presented to Marguerite.
(centre) Sierra Richardson as Lucie and Tina Desroches as Bubbs in the Canadian Opera Company’s new production of Faust, 2024. Photo: Michael Cooper
Music director Johannes Debus leads a well-paced reading of Gounod’s dramatic score, which the excellent COC orchestra brings to life. The men and women of the COC Chorus are simply spectacular, both in vocal and theatrical agility.
Faust is French grand opera at its best, and this new COC production makes this enduring story still relevant today.
Canadian Opera Company presents Faust at the Four Seasons Centre for the Performing Arts in Toronto from October 11-November 2, 2024. www.coc.ca
