Search - Charles Gounod, André Cluytens, Nicolai Gedda :: Gounod - Faust / Gedda · de Los Angeles · Christoff · Gorr · Cluytens

You have to believe me - it's just OK

madamemusico | Cincinnati, Ohio USA | 11/03/2003

(3 out of 5 stars)

"This set, like the Bjorling-Beecham "La Boheme," has achieved such mythic proportions that anyone who says anything negative about it is immediately branded as "insensitive" or a "misanthrope." But like the late Feodor Chaliapin, I do not JUST listen to the principals in judging the worth of a work. I listen to every aspect of a piece, including the conducting, bit parts, theatrical atmosphere (if any) and how sensitively the singers interpret the words and lyrics.Christoff, for all his vocal gold, is his usual snarly self. Yes, he had an unbelievably glorious voice, but he sang EVERYTHING snarly, whether it was Silva in "Ernani," Ramfis in "Aida," Padre Guardiano in "Forza del Destino," Mefistofeles or even Boris Godunov. This works in Boris and as Ramfis, but not so well elsewhere. Mephistopheles is occasionally supposed to be joking or subtle, for instance when approached by Martha Schwertlien in the garden scene, but Christoff (as usual) just snarls. Glorious sound, though, so I give him a B+.Nicolai Gedda was the quintessential "French" tenor of his era, but Faust was never one of his favorite roles. He felt the character too one-dimensional, and so just approached it as a singing job from the outside in, not an interpretation from the inside out. Again, glorious voice, but in my honest opinion Faust's character fails to make as much of an impact as Jerry Hadley's performance on the outstanding Carlo Rizzi-conducted set, where Faust's bitterness, doubts, passion, ecstasy and fear are all interpreted with stunning conviction.De los Angeles was a perfect Butterfly in her earlier set with di Stefano and Gobbi, and a perfect Antonia in "Tales of Hoffmann," but here as in most other roles, her Marguerite simply does not come across as a convincing character. She is sweet, ladylike, and reserved, but that's about all. It is fascinating to compare her Marguerite to the multi-faceted interpretation given by Cecilia Gasdia, in which one feels Marguerite's vulnerability but also her kindness, loneliness, fears and sorrows.Ernest Blanc is a competent, dry-voiced Valentin. On the earlier mono version of this recording, which also had de los Angeles-Gedda-Christoff (all in better voice, by the way), the baritone was Jean Borthayre who was a much more splendid singer, and who characterized a little; but neither has a patch on Alexandru Aguche's multi-dimensional portrayal of the soldier.Rita Gorr, as usual, is spectacular as Siebel. No one can touch her; this is the one true "golden-age" singing AND interpreting job on this set.Andre Cluytens was, really, a vastly overrated conductor (just as Paul Kletzki and Jonel Perlea were vastely UNDERrated). His tempi are slow but not dramatically "sustained," as for instance the slow tempi of Furtwangler, Toscanini or Kempe could be. (To understand what I mean, imagine stretching a piece of rubber out two feet from end to end - there is still tension there - then imagine stretching a piece of taffy the same length - and watching it sag in the middle, no tension.) His singers often save the day for him, but in the end there is nothing one really remembers of his conducting except for the loud, bashing portions of the score.Now that the Rizzi set is available, really, there's no reason to venerate this set any longer, just as the new Chailly "Boheme" has made both the Beecham and Karajan sets sound old-fashioned and the Gergiev "Boris" has eclipsed Abbado and Dobrowen. Some older opera sets, by virtue of some extraordinary performances or conducting, will indeed live forever, but this "Faust" isn't one of them. It reflects an older, brown-and-serve conception of the opera that simply does not hold up in our day. However, if all you want from "Faust" is a healthy sing, by all means get it."

The Ultimate Faust

Rudy Avila | Lennox, Ca United States | 09/18/2002

(5 out of 5 stars)

"This is "the Faust". With the fact that Charles Gounod's masterpiece is so popular, there are many recordings and interpretations. I had previously made the mistake of purchasing an old WWII Era recording sung in English with no noted singers. The best Faust is in its original French diction, with superb singers. Nicolai Gedda, who is the most recorded tenor still alive, sings the role of Doctor Faust with brilliance and we are moved by his reflective arias which muse on love, life and salvation. Besides Gedda, Placido Domingo makes an even greater Faust, but it is the story and the music set to this particular recording, plus Gedda's superb acting and singing voice that makes it so good. De Los Angeles is a diva and a strikingly touching Marguerite in this performance. This is an undeniably the greatest Faust recorded. The story of a man, driven by ambition to seek forbidden knowledge, sells his soul to the Devil, his love for Marguerite, which almost, but not quite saves him from damnation is an unforgettable operatic experience. For opera lovers, and novices, Faust is a good opera to start with, especially if you are beginning to embark upon the French class operas. With Bizet's Carmen at the head of the list, and Tales Of Hoffman second, Faust comes in third, in my opinion, of the great French grand operas. And this Faust is the grandest recording of them all, using effective ensembles and chorus, a beautiful waltz and serenades of love. This is the ultimate. Why else would it be first item on the Amazon list ? Although you are free to select of any of the Faust recordings, I suggest you discover for yourself how this is truly the ultimate Faust."