Few operas have enjoyed such an enviable fate as Gounod's Faust. Well received at its premiere, followed by international success, which still makes it the most performed French opera in the world today, just behind Carmen. But should we take this Faust literally? Or should we see it, in the twist of the fable, as a celebration of pleasures? The audience can enjoy all the excesses, intoxicated by the music... without risking damnation. In Opéra de Lille’s production, this contradiction does not escape astute analysis of director Denis Podalydès. Podalydès and his distinguished team tackles Goethe's tragic hero, using Jules Barbier's spoken dialogues, which were part of the work when it was first performed in 1859, to bring out all its ambiguities.
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TenorFew operas have enjoyed such an enviable fate as Gounod's Faust. Well received at its premiere, followed by international success, which still makes it the most performed French opera in the world today, just behind Carmen. But should we take this Faust literally? Or should we see it, in the twist of the fable, as a celebration of pleasures? The audience can enjoy all the excesses, intoxicated by the music... without risking damnation. In Opéra de Lille’s production, this contradiction does not escape astute analysis of director Denis Podalydès. Podalydès and his distinguished team tackles Goethe's tragic hero, using Jules Barbier's spoken dialogues, which were part of the work when it was first performed in 1859, to bring out all its ambiguities.
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