Where do we stand with
Beecham’s Faust? Firstly, there’s the
1929-30 English language set headed
by Heddle Nash and then the 1947-48
RPO recording with an almost all French
cast. Both are currently available.
In addition to these, live recordings
have survived and this performance,
which Raoul Jobin ensured was recorded,
is one of at least three – possibly
more - survivals from Beecham’s time
at the Met where he was so active and
distinguished a member of the French
wing. He generally had Pinza – not a
bad start – though he did sometimes
have Norman Cordon. As Faust it was
either Jobin or the excellent Charles
Kullman (who has his detractors but
I’m not usually among them) and as Siebel,
usually Lucielle Browning. In fact this
Met tour broadcast (from Boston) is
a full strength team except possibly
for Singher. He was an estimable musician
and one remembers him with admiration
from his Milhaud recordings but he wasn’t
on top form on 15 April. Beecham’s other
Valentins included Leonard Warren and
John Charles Thomas – though fortunately
both their impersonations of the role
with the conductor have survived so
we should perhaps be less concerned.
Pinza is, of course,
magnificent and Jobin matches him for
much of the time – though not all of
the time, which is where Kullman scored
over him. Albanese is a character actress
of real repute though the voice itself
is inclined to take on a slightly mezzo-ish
depth. Never mind, she has the dramatic
instincts in place. The smaller roles
are well taken and that leaves Beecham.
Well, he was never rocket propelled
in this work and generally encouraged
leisurely tempi. Though as he would
doubtless be the first to point out,
the average ear confuses speed and rhythm
– and Beecham’s rhythmic underpinning
here is sure, his conception of the
work as a whole splendidly realised.
Right from the start one can admire
his direction of the Act I introduction
– so flexible and winning. The Chorus
comes in – somewhat distant but adequate
for a private recording of this kind.
Jobin is first – ringing and declamatory,
superb rhythm and articulation of phrases,
subtle highlighting of lyric peaks and
troughs. Then Pinza, simply wonderful
with great depth of tone across his
range - characterisation without exaggeration.
I wouldn’t make too much of Singher’s
problems but he is unsteady in
O toi in Act II (and going up
in the Invocation). In fact so is another
voice - the prompter, I assume, who
can be clearly heard – and crikey is
he a busy man. Beecham sounds to be
enjoying the grand seignorial swagger
behind Pinza in the Rondo – though,
a warning to those who are expecting
the moon; the sound is a bit crude along
the way.
The Met strings sound
on good, spruce Gallic form in Nous
nous retrouverons, mes amis and
indeed they cultivate a bright and crisp
impression all round; the Chorus too
sounds well trained for the occasion.
As for Jobin’s Salut! Demeure chaste
et pure it’s not so bad – it’s not
virile in the way Kullman is but more
soft grained and intimate; less effusively
romantic. No, I don’t think Albanese
sounds youthful enough in the Chanson
du Roi de Thulé but she shows
signs of her impersonation to come later
on; careful and clever singing and acting,
as well as tonally frequently resplendent
on her own terms. Let’s finish with
Thelma Votipka and Lucielle Browning
who tend to be edged out of discussions
given the excellence of the principals.
Browning is consistently good and Votipka
shows in her Act III Que vois-je,
Signeur Dieu! just how strong a
cast this was – witty and perfectly
characterised.
The acetates sound
to have been in generally good condition
and I doubt Jobin played through the
set much before bequeathing them to
the National Library of Canada. Restorer
Richard Caniell has had to equalize
throughout (the two turntables used
to record the opera, as so often, had
different characteristics). There’s
a small patch in the Soldier’s Chorus
but more of a problem in Act III Scene
II where two discs were missing – longer
patches from Beecham’s 1943 broadcast
survival have been used, along with
a smaller patch from the duel scene
from a performance led by Pelletier
in 1944. They’ve been expertly carried
out. If you don’t know Beecham’s way
with Pinza et al at the Met here is
a fine place to start.
Jonathan Woolf
see also review
by Robert Farr
Chorus and Orchestra of the Metropolitan Opera,
New York/Sir Thomas Beecham 
