It may be that opera is a hard sell. Having seen fewer than ten of them, I cannot claim to be particularly well versed, though I feel that reading Terry Pratchett’s Maskerade is a fine introduction.
But opera does tend to conjure a particular audience; bejewelled, elderly and snobbish, a New Yorker cartoon come to life. There is some element of truth to this, as even a cursory glance at the ticket prices for most opera will attest. How much more value can you possibly receive when comparing a 30-buck Metro gig with several hundred dollars at Bennelong Point?
In the case of Faust, it is recommended that you immediately pawn your grandparents rather than miss the opportunity of catching one of the world’s most enduring stories brought to riveting, decadent life by Opera Australia.
Everywhere you choose to look, the attention to detail is mesmerising. The sets are magnificent in their design and functionality; the city gates of Act II deliver a fine revolutionary rabble, but the most striking scenery is held back until the cathedral of Act IV. Costumes are uniformly outstanding, though particular praise must go to the resplendent wardrobe granted to Méphistophélès, and to the historical haute couture of the undead queens. The orchestra is faultless in conjuring a truly atmospheric score, and Paule Constable’s lighting ranks as some of the most inspired I have ever seen.
Gorgeous as all this may be, it will forever be the vocals that fix you to your seat. Taking the title role, American tenor Michael Fabiano is a powder keg of talent – my God, the strength of his voice is utterly remarkable. Nicole Car’s portrayal of the tragically misled Marguerite holds the audience captivated (though I feel she straddles the line between acting and vocals with less confidence than others), while Anna Dowsley shines as Siébel.
But just as Milton gave his best lines to Lucifer, so does Teddy Tahu Rhodes find himself with the role of choice. Méphistophélès is seductive, cruel and stentorian, a juggernaut of terrible charm who Rhodes brings to delicious life. He perfectly captures that glamour of menace, and his outstanding bass, particularly in the “Sérenade”, is one of the production’s numerous highlights.
Devils, witches, pimps, soldiers and saints; something for the whole family. Faust suffers from a short season, and is one of the few productions I would unreservedly recommend. Start drugging your nanna’s tea now.
5/5 stars
Faust is playing at the Joan Sutherland Theatre, Sydney Opera House until Friday March 13.
