Opéra
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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.
‘Faust’ at Met With Jonas Kaufmann and René Pape - Review