| . | 10/29/2002
Damnation de Faust
By: Bruce-Michael Gelbert
Conductor Michael Plasson
Montreal Symphony's Fine "Damnation of Faust" Begins Berlioz Bicentennial Celebration
In 2003, the music world will celebrate the bicentennial of the birth of the still controversial composer Hector Berlioz with such events such as the Metropolitan Opera's new production of his massive "Les Troyens" in February. An early observance of this milestone came with the Orchestre Symphonique de Montréal (OSM) and conductor Michel Plasson's crisply intense, intermissionless performance of the Master's musical "dramatic legend" "La Damnation de Faust" at Carnegie Hall on October 26.
Plasson led his instrumental forces in a magnificent, fiery Rákóczy March, airy Dance of the Sylphs, measured, but ominous, then frisky Minuet of the Will o' the Wisps, and exhilarating, driven Ride into the Abyss and climactic Pandemonium. The OSM Chorus delivered a tipsily irreverent "Amen" after the Song of the Rat; dulcet reverie of the gnomes and sylphs; spirited soldiers chorus, student song in Latin and demonic revel; and, with the young Petits Chanteurs de Laval, ethereal angelic epilogue.
Soloist John Relyea
Taking top honors among the soloists was John Relyea, commandingly limning a dashing devil, Méphistophélès, in dark, unforced cocoa colored bass-baritone sound. Relyea dispatched his Song of the Flea with apt panache and serenaded Marguerite with mock courtliness, lending even these brisk lines full resonance, and sang seductively as he lulled Faust into "a voluptuous sleep" ("un voluptueux sommeil"). Ruxandra Donose's Marguerite introduced herself in a lustrous Ballad of the King of Thulé. While the mezzo-soprano's "D'amour l'ardente flamme" gave the gentle heroine's descent into despair and dementia the necessary urgency, her account of the lush aria was lacking in the anticipated vocal velvet. Michael Schade sang Faust's part in a bright lyric tenor which, however, verged on shrillness in his high-lying duet with Marguerite, although he deftly floated light head tones in his aria "Merci, doux crépuscule" a bit earlier. Bass Andrew Wentzel, tossing off Brander's "Song of the Rat" with flair, completed the cast.
Following the Met's "Troyens," which opens on February 10 and is given eight additional hearings through March 27, come the New York Philharmonic's tributes to Berlioz, on February 14-the "Requiem"-and April 9-12-"Béatrice et Bénédict." The Great Performers at Lincoln Center series features the London Symphony Orchestra in a Berlioz Festival at Avery Fisher Hall from March 4-9, when "Roméo et Juliette," the "Symphonie Fantastique," "Harold in Italy" and, once again, "Damnation de Faust" will be aired.
"Les Troyens" Metropolitan Opera
February 10 $50-250, 14, 17 & 22 (matinee), March 11, 15, 20, 24 & 27 $33-280
212/362-6000
"Requiem" February 14 &
"Béatrice et Bénédict" April 9, 10 & 12
New York Philharmonic at Avery Fisher Hall
$25-88 212/875-5656
"Harold in Italy" & "Symphonie Fantastique" March 4
"Roméo et Juliette" March 7
"La Damnation de Faust" March 9 matinee
Great Performers at Lincoln Center series
London Symphony Orchestra at Avery Fisher Hall
$32-55 212/721-6500
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