Faust by Charles Gounod to a libretto by Jules Barbier and Michel Carré

Dates 22, 25, 27, 29 April, 2 May 2006 at 7:30 p.m. Venue Queen Elizabeth Theatre

Faust Dario Schmunck Méphistophélès Peter Volpe Valentin Aaron St. Clair Nicholson  Wagner Kevin Sean Pook Siébel Norine Burgess Marguerite Erin Wall Marthe Marcia Swanston

Conductor Yannick Nézet-Séguin Director and Scenic Designer Nicholas Muni Lighting Designer Nicholas Haas Fight Director Nicholas Harrison Chorus Director Leslie Dala

Reviewer Elizabeth Paterson

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Méphistophélès takes the limelight (literally), but Faust is front and centre in a devilishly good night at the opera. Faust is a 19th-century take on the medieval legend, a story of sin and redemption and the compassion of Heaven. Nicholas Muni looks at it from a distinctly modern viepoint and sucks out its inherent sentimentality by highlighting Faust's journey.

The set is a series of visual treats and theatrical surprises, but more than that it underpins the director's interpretation. The curtain rises, with dramatic effect, on Faust's sparse study, the walls covered with meaningless equations.  The room expands into the busy, exuberant Carnival of Faust's second youth.  The scene is made mysterious and unsettling by a giant puppet and the Carnival characters.  Are they happy villagers dressed up, or, in truth, Satan's minions hidden in full view?

Later, in contrast, Faust and Méphistophélès pass through a wasteland composed of a bare stage and black scrim. Contrasts indeed abound: the rousing Soldier's Chorus is sung by broken and wounded men limping against a smoke-laden backdrop. But neither contrast nor modern viewpoint undermines the original themes of the opera.

Too often first-rate production values overshadow the actual performances, but not with this cast. Peter Volpe was a swaggering Mephistopheles, witty, comical, and grotesque.  Dario Schmunck's Faust was more sober yet graceful and musical, his descent to hell nicely worked out.

More than matching them was Erin Wall's Marguerite. This was no wimpy romantic heroine/victim, but a girl so straightforward that, though she could be dazzled by jewels, though deceit and cruelty could drive her to despair and madness, she is ultimately, radiantly, redeemed. Erin Wall's beautiful shaping of the lines, her vocal strength, warmth and directness were glorious.

Complementing the strong principals were Norina Burgess as an engaging Siebel, Marcia Swanston as Marthe, Marguerite's sexy neighbour, Aaron St Clair Nicholson as Valentin, Marguerite's soldier brother, and Kevin Sean Pook as his friend, Wagner. Thorough attention to detail, excellent vocal technique and strong characterization were delivered by all.

As always, the Vancouver Opera chorus provided excellent support. Yannick Nézet-Séguin led the orchestra with a satisfyingly secure beat and well-chosen tempi in exploring the director's interpretive ideas.

Overall, the consistency and quality of interpretation in music, acting, set, costume, and lighting came together in a memorable production.