Tag: Christian Van Horn
Lucia di Lammermoor
Composed by Gaetano Donizetti
This damnation is visually stunning
Lyric Opera of Chicago presents
The Damnation of Faust
Composed by Hector Berlioz
Libretto by Berlioz and Almire Gandonniere
Adapted from Gerard de Nerval’s translation of Goethe’s Faust
Stage directed by Stephen Langridge
Conducted by Sir Andrew Davis
through March 17th (more info, tickets)
Reviewed by Katy Walsh
Multi-colored saber lights, pole dancing and life-size shadowboxes, Lyric Opera of Chicago puts a modern twist on a legendary tale in The Damnation of Faust. Composed by Hector Berlioz, The Damnation of Faust was first conceived as an “opera concert” but later termed a “legend dramatique.” Sung in French with projected English titles, the show is nineteen scenes presented in four parts with an epilogue.
In Goethe’s epic, Faust is seduced by Mephistopheles and falls for the woman of his dreams, Marguerite. Mephistopheles plays matchmaker and arranges the meeting. Faust seduces Marguerite. After the loving, Faust leaves her. Obsessed with passionate memories, Marguerite goes crazy waiting for Faust to return. In her fervor, she accidentally kills her mother and is condemned to die. To save Marguerite, Faust signs over his soul to Mephistopheles. Lyric Opera of Chicago’s The Damnation of Faust is a familiar story dressed up with a dazzling light show.
Not quite operatic, this legend dramatique has several long musical melodies without any singing. Susan Graham (Marguerite) sings for the first time in part three, scene ten. Along with Paul Groves (Faust), Graham sings a passionate duet “Ange adore.” Clad in a purple shiny suit, (Mephistopheles) John Relyea’s booming voice commands the stage dominion. Christian Van Horn (Brander) also establishes a strong presence with his sporadic moments of song. Singing, however, takes a secondary role in this current production of The Damnation of Faust. Hell, it’s all about the visual!
The production set debuting in The Damnation of Faust is fantastic. George Souglides (set and costume designer), Wolfgang Gobbel (lighting designer) and John Boesche (projection designer) have teamed up to add contemporary layers to the traditional 1800’s backdrop for this story. The fresh approach is immediately apparent as the show opens. Surrounded in dramatic black, the set is a life-size shadowbox. Ten feet above stage level, it houses Faust in an office cubicle with projections of his computer typing. This amazing shadowbox technique is utilized in different scenes, decreasing and increasing depending on the action. Setting the tone with illumination are these magnificent overhead lights suspended on wires. Moving up and down and tilted sideways, these fun techno-color changing lights are surreal in an almost cartoonish way. The renovation of the classic continues with peasants being re-imagined as office drones. The orchestration of a dream sequence using duplicate characters and repetitive motion in a perfectly synchronized fashion is fascinating.
Onstage, the pacing and choreography of The Damnation of Faust appears flawlessly in sync (choreography by Philippe Giraudeau). Offstage, they may have been dealing with some issues. For opening night, there were some distractive pauses between scenes… sometimes even when there wasn’t an apparent set change. The curtains closed, and the audience awkwardly waited in the dark. Most notably, the pause stretched five minutes before the final scene. When the curtain finally rose, a herd of children are shepherded on to the stage. Although the kids add a dimension to the celestial chorus, their presence may be causing a diversion from the movement. Or maybe the kids weren’t the issue. The clunkiness could be the bi-product of a nineteen scene show. Regardless, The Damnation of Faust is a hell-of-a stunning visual. To calm the devil inside, be patient with scene transitions and read the story synopsis in the program.
Performed in French with English Titles
Running Time: Two hours and fifty minutes includes a fifteen minute intermission and several scene transition pauses