Search - Charles Gounod, London Symphony Orchestra, Richard Bonynge :: Faust / Sutherland, Corelli, Ghiaurov; Bonynge

Not the best choice for Faust

Ralph O. Padgug | Sacramento, CA United States | 06/26/2001

(3 out of 5 stars)

"I have to admit -- this was my favorite recording of Faust when I first heard it (it was also the only stereo recording available, and I was about 10 yrs old at the time.) Since then, there have been so many better versions recorded that this one is no longer worth it in my opinion, even at the bargain price. That said, the one truly great aspect of this performance is the combined forces of the conductor, orchestra and choirs. Richard Bonynge seems perfectly at home, with consistently good taste & control; his tempos are natural and fit the music like a glove. The fantastic London Symphony and the huge combined chorus (which is a great advantage during the many famous choral scenes, especially the Kermesse and the final scene where the score calls for an entire host of angels) are nothing less than impressive. SO, if you're not too picky about the soloists, this would be a good choice. On paper the cast looks promising (Joan Sutherland as Marguerite and Franco Corelli in the title role!) However, Sutherland's usually rich voice sounds constricted, though undeniably beautiful in the upper register, and her phrasing is often awkward; and Corelli, while he also has a glorious set of vocal chords, comes off as a rough, unsophisticated lout in this most elegant of tenor roles, and his French is horrendous. Bass Nicolai Ghiaurov fares much better as Mephistopheles, ranging from suave to ironic to really demonic, with a strong, mellifluous sound. Robert Massard also sings very well as Valentin and the smaller roles are handled competently. The sound quality is superb for its time -- no possible complaints there. For Sutherland/Corelli fans this recording will have plenty to offer, but if you want the best choice for this exquisite opera, the most famous vocal version of the Faust legend -- check out the many other possibilities. Which one you'll like best will depend on your taste in singers and how much you want to spend."

Hey! It's great!

Rachel Howard | ocklawaha, Florida United States | 07/18/2002

(5 out of 5 stars)

"Just a short review for now- I love this performance. Corelli, Sutherland, Massard (A FINE Valentine!), and Ghiaurov are all in excellent voice. True, this is not a showcase of proper French style, so if you prefer that, one of the others would be preferable. (I simply don't know which other version of Faust is truly in a French style. Of the other Fausts I've heard, the one with Cluytens conducting Gedda, De Los Angeles, and Christoff should be the closest to the French style. It's also an excellent performance!) As for this one- it's very Italianate and passionate in its approach. To me, Corelli does not come off as a lout- just impetuous and VERY much in love. Sutherland's voice might not be perfect for the role, but she captures the character quite well for me. Massard is a prim and proper sounding Valentine (And he's also quite French!), with a beautiful voice. In other words, he fits perfectly. And what can I say about Ghiaurov here? The voice is simply stunning and his characterization is superb. Also, as another reviewer mentioned, the orchestra and choruses are simply superb... and I love the way Bonynge conducts this opera."

Faust- Joan Sutherland, Franco Corelli - The Best!

klingsor@bol.com.br | Fortaleza, CE Brazil | 08/05/2001

(5 out of 5 stars)

"This recording, criticized or forgotten by the critics, it can offer much more than beautiful voices, but also a lot of dramatismo. Joan Sutherland's Marguerite is great, with an impressive dramatism and a sweet and pathetic voice. Frank Corelli, in spite of little dramatismo, is with a perfect voice to interpret Fausto. Ghiaurov is the most impressive of the group, showing a perfect and ironic voice of Mefistófeles. For who wants to have a good quality example, and mainly for J. Sutherland's fans, this is an excellent recording, as well as the one of Cheryl Studer and De Los Angeles."