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Gounod, Faust: Soloists,Orchestre Nationale du Capitole. Choeur du Capitole.Conductor: Emmanuel Plasson. Théâtre du Capitole de Toulouse. 21.6.2009. (JMI)

New Production.

Director: Nicolas Joel.
Sets: Ezio Frigerio.
Costumes: Franca Squarciapino.
Lighting: Vinicio Cheli.

Cast:

Faust: Giuseppe Filianotti.
Marguerite: Inva Mula.
Méphistophélès: Orlin Anastassov.
Valentin: Andrew Schroeder.
Siebel: Blandine Staskiewicz.
Marthe: Isabelle Vernet.
Wagner: André Heyboer.

Faust (Filianotti) Marguerite (Mula) and Méphistophélès (Anastassov)

The opera season at Toulouse’s Capitole ended with a double farewell. On the one hand, Nicolas Joel is to leave the theater to become GM in Paris and on the other everyone is temporarily leaving the Capitole. The next season will take place, as it did five years ago, “Hors les Murs” in Toulouse’s Halle des Grains. Last time, the reason given was work on the stage, now it seems that repairs to the building itself are needed. This is not good news, since the Halle des Grains is not particularly suited to opera.

For his farewell, Nicolas Joel decided to provide a new production of Gounod’s Faust, although I have some doubts about its origins. First of all, Mr. Joel staged a new production of Faust for the Halle des Grains in 1983 and the first scene of this one is exactly the same. Besides that, it also looks similar to the production offered at Orange last summer and seems more and more like an adaptation of the earlier production for the Capitole. Another Nicolas Joel production of this opera in Vienna also seems to have quite a few points in common. 

The production is very traditional and not very attractive in general, and there is almost no stage direction. Like so many times before, Mr Joel is assisted by his traditional creative team. As far as the staging goes, the sets are below Frigerio’s usual standard by some margin. The first scene, containing a huge book ( also seen in 1983 and at the Orange production) and the prison scene, are the only ones worthy of Mr. Frigerio’s creativity. The action is transferred to the end of the 19^th century and counts on its attractive costumes, less spectacular than on other occasions, for its visual impact. What is most surprising is how crowd scenes, the kermesse and Valentin’s death for example are handled, with a completely static chorus worthy of a concert version. There is no ballet (an oddity for France) and the Walpurgisnacht is done with dubious taste which does not add anything to the action. The only original element of the production is to present Siebel as a young cripple. It’s all rather disappointing.

The other negative element in the performance was Emmanuel Plasson’s musical direction. His reading was flat, lifeless and frankly boring; so much so that it was difficult to believe that the orchestra was the same on that played Salome last month.

On paper the casting looked good, but things didn’t turn out quite so well in performance. The protagonist Faust was Giuseppe Filianotti, who offered a good interpretation in general, with the beautiful voice that all we know. He needed a better phrasing and a more nuanced rendering of his aria: “ Salut, demeure chaste et pure” but was fine in all other respects.

Inva Mula as Marguerite

The Marguerite was Inva Mula, whose performance was rather disappointing in the first act. I have not seen this Albanian soprano in the last two years, and I have been surprised by her this time. She was not too bright in the Jewel Song and I found her top range rather hard. She improved in the second half and was back to her usual standard and at her best in the final scene.

As Méphistophélès, Orlin Anastassov proved once again that he has lost much of his vocal appeal recently. I thought that he would work better in this small theater than in other larger houses recently, but I was wrong. Now, his voice lacks weight and authority and the high register is much too problematic with poor projection. It is truly a pity that at only 32 he is already becoming a mediocre singer, very far from the most promising artist that he was a few years ago.

Andrew Schroeder offered too light a Valentin, of little interest, and Blandine Staskiewicz was a poor Siebel. Isabelle Vernet was a suitable enough Marthe, though without much vocal and André Heyboer played Wagner without any great glories. 

The sold out theatre’s audience showed no great enthusiasm at all. Inva Mula and Giuseppe Filianotti had a warm reception, although not too much of one. Anastassov’s bow produced some booing - unusual for this house and something similar happened to Emmanuel Plasson.

José M Irurzun

Pictures © Patrice Nin

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