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The standard rap against “Faust” is that Gounod turns the characters into stereotypes, with music to match. As Gounod presents him, Faust, an embittered old philosopher who has signed a contract with the Devil, becomes just another in a line of dashing young tenor heroes pining for a young woman and showing off his top notes. Gounod’s Méphistophélès seems far too charming to be malevolent; and the pretty young Marguerite is a little shallow, smitten as much by a casket of jewels as by the young Faust’s ardor. Who cares? This melodious opera has been ensnaring audiences since its 1859 Paris premiere.