Love in a Chem Lab

That sounds awfully like the title of a mid-seventies rock song, doesn't it? Anyway.

I went into the Faust broadcast last night with such low expectations that I was pleasantly surprised. I had read all of the reviews and the blogs discussing how ridiculous the set was, how strange it all was, and you know? They're right. But it was still a really interesting production.

Do I think that setting it in a chem lab worked? Yes and no. Yes, because Faust IS a scientist, a chagrined one, and if you're going to update the action to the 20th century, then why not? And no, because after the Elixer of Life, nothing Faust said or did had anything to do with either science in general or the atom bomb in particular. It was an interesting concept, but Faust is such a straight-forward story that I can only admit that it didn't quite fit. But then, much of the action was elsewhere, which worked out all right, I thought. Bottom line is, I didn't mind the set as much as I thought I would.

Let's move on to characters. What in the HELL (excuse me) is Valentin's problem? That kind of attitude- "You were defiled; TO HELL WITH YOU!"-is not only reprehensible, but morally wrong. I think the secondary characters did a good job with reacting in horror to his words. And frankly, blaming your sister for your death in a duel that was YOUR idea in the first place?* Idiot. That said, I really enjoyed Russell Braun: his voice is lovely.

(*I did like the duel, quite a lot. Yay for handsome men with swords!)

Faust: Oh, you stupid man. I think Shallow Pleasure Seeker is an apt description. But I liked what Kaufmann did with the role: he didn't play him sympathetically. I liked how he acted the old!Faust at the beginning, with hesitant steps and a cane. The way he layered the costumes must have been excruciating under all those lights (I interned in an opera costume shop; there was no other way for him to make that 15 second costume change without wearing two suits under that enormous coat). The wig? Eh. I'm pretty sure that curly-haired young men are curly-haired old men, too. The moustache? OH GOSH WHY?

Mephistofeles: Oh Rene Pape, you can do no wrong in my heart. And you did no wrong. I found his Mephisto charming, ironic, suave, evil, and downright creepy. I loved the use of comic movements, too: the dancing, the high-kicks before "Veau d'Or", everything. "Oh me, nothing's wrong; I'm totally on the floor because I like it here." And his voice is perfect. Brilliant performance.

Marguerite: Oooh, this character rankles me, purely because she is both spineless and completely unreal. Here is a mid-Victorian Angel in the House if I've ever seen one. I found Poplavskaya's voice to be strong and interesting, but her acting seemed very wooden. Shame, but there's not a whole lot for her to do, besides spend half her time running from Faust and the other half woefully killing infants. So...

Of all the broadcast, I have to say that the interviews in the breaks were my favorite: I love Joyce DiDonato, and her straight-up fangirl moment with Kaufmann was hilarious. ("That was the most incredible diminuendo; you are a GOD, man!") I hope someone posts it on YouTube. I also loved that Rene Pape straight up "Hi Mom'd" at the camera: "Hello to all my friends and fans in Dresden, including my mother who is watching this in kino!" I lol'd, as did half the audience.

You know, the Germans are very proud of their singers. Both Kaufmann and Pape got loud cheers from my audience during their interviews, and a tiny little old lady I talked with afterward called JK a "beautiful young man, and doing us so proud with his beautiful voice". Amen, sister.

All in all, it was an enjoyable night, I had fun, the music was lovely, and it was a good performance. Shall we chat about it in the comments?