Berlioz’s La Damnation de Faust (BBC Proms) began with the young composer’s intoxicated discovery of a French translation of Goethe’s original. He originally wrote Eight Scenes from Faust before creating this uncategorisable fusion of opera, oratorio and symphonic poem, whose rapid changes of place and hallucinatory orchestration make it seem cinematic before cinema even existed. This often-overlooked work is presented on a grand scale, Jakob Lehmann deftly takes the baton, and a pair of French choruses join the period- instrument orchestra Les Siècle along with a stellar cast of soloists. The evening was a magnificent success and gathered pace from the outset as we were treated to what Sir Thomas Beecham described as a “bunch of the loveliest tunes in existence.”
Exceptional choral singing, a distinguished veteran cast, fascinating period colours and Lehman’s beautifully stylized conducting told this version of the story in which Faust finds no redemption. The choirs were exceptional switching as needed between infernal horror and ethereal radiance. Gerald Finley made a very convincing and unsettling Mephistopheles in impressive voice. John Osborn played a convincing Faust with an impeccable vocal technique. And Véronique Gens sang Marguérite with a richly embroidered tone which effortlessly conveyed the character with an endearing charm. Worthy of mention in this exquisite performance, The Ride to the Abyss when Faust is deceived and plunged directly to hell is both an example of Berlioz at his most spectacular and thrilling but also of this specific performance in which the very essence of the music is caught and audience duly taken on a journey.
This is as close as Berlioz’s work came to entering the operatic genre – it could easily stand as part of that superlative canon if it had – though when you listen to this powerfully evocative work which he described as a ‘dramatic legend’ it is utterly compelling in both narrative and musicality. The exceptional orchestral sound, which filled the historic arena with a beautifully unique timbre allowing even the non-discerning ear to pick out some gorgeous playing from all sections, though in this arena the woodwind took on an eerie cum ethereal feel with the cor anglais particularly so.
Despite my misgiving about concert style performances this proved to be another superb concert in an outstanding season of diverse musical entertainment. Next one for Parikiaki is Bach’s masterpiece, Mass in B Minor, and my advice is make sure you are there too.
BBC Proms – https://www.royalalberthall.com
Iasonas Gallonbramma
Photo credit: BBC – Mark Allan