Tenor Brian Thorsett plays the lead role of Faust, while bass Kirk Eichelberger plays Mephistopheles. (Robert Shomler for Festival Opera)
Before the performance, Morgan acknowledged his board of directors from the stage for doubling the number of productions this year from one to two despite the tough economic times. While most performing arts organizations are cutting back, this is a particularly bold move on the part of Festival Opera, and may signal more multiple-production seasons ahead. Festival Opera performed Puccini’s “Turandot” last month.
The opera is largely based on the play of the same name by Goethe, and tells the story of an old scholar, Faust, who accepts eternal servitude to the devil in the next world in return for youth and love on this one. The object of his affection is Marguerite, who is known to all not only for her beauty, but also for purity and virtue.
With his newfound youth and charm, Faust manages to seduce and impregnate Marguerite soon after her protective brother Valentin ships off to war. Upon his return, Valentin is consumed by rage when he discovers the affair and attacks Faust, but is fatally stabbed.
While villagers gather around and implore Valentin to forgive Marguerite in his final moments, he shows no mercy and condemns her while drawing his final breath.
Apparently having killed her child, Marguerite awaits execution in prison. Aided by Mephistopheles, Faust offers to help Marguerite escape, but is shunned by her. She finds divine redemption and a chorus of angels sing as she mounts the scaffold to her death. Faust is once again alone and realizes he must now pay the ultimate price.
Making his company debut, Brian Thorsett proved to be a strikingly gifted tenor, with a deeply moving, resonant, and unblemished voice. One of the opera’s brightest moments was Thorsett’s “Chaste et pure,” in which Faust expresses his longing for Marguerite.
Kristin Clayton appears as Marguerite, the object of Faust�s love. (Robert Shomler for Festival Opera)
In his short-lived moments on stage Eugene Brancoveanu was simply brilliant. His voice has the kind of carrying power that few others possess and many sigh for in vain. As Mephistopheles, Kirk Eichelberger truly did justice to the dark figure of the underworld, and lent much credibility to the production as a whole.
Appearing in the supporting roles of Siebel and Wagner, soprano Erin Neff and baritone Zachary Gordin each gave a strong performance.
Another important feature of this opera was the expressive choreography of Mark Foehringer and his six nimble dancers. As always, the chorus added great depth and dimension to the production thanks to director James Toland.
The orchestra and stage direction were simply flawless under the direction of Oakland East Bay Symphony conductor Michael Morgan, who is known affectionately by his fans as “MoMo.”
Eman Isadiar teaches piano at the Peninsula Conservatory and writes about music in the San Francisco Bay Area
