PAPE, ALAGNA IN THE MET’S MUSICALLY BRILLIANT “FAUST” Metropolitan Opera House, Lincoln Center, New York; April 26, 2005 Gounod’s “Faust” has an odd relationship with opera-lovers. Once among the world’s most popular operas (it was chosen to open the Metropolitan Opera House in 1883) it has fallen in and out of favor periodically over the years: What are, to some generations, heard as graceful melodies, a gorgeous love duet and a stirring final trio are perceived by others as trite, saccharine and pseudo-religious. What never changes, however, is how well the music shows off great voices: if you have a superb soprano, tenor, baritone and bass (and mezzo, in a smaller but still gratefully composed role) all discussion of the music’s actual “value” somehow becomes unimportant and the listener can be swept away. And what a cast the Met has assembled for its new production, which received only its second (of nine) performances Tuesday night! More about the superb musical preparation in a moment, but first we must take on the problem of the production, under Andrei Serban's direction with sets and costumes by Santo Loquasto. It’s s senseless jumble, sort of a kitchen-sink approach to an opera that is nothing if not self-explanatory. Moved for no reason from 16th century Germany to late 19th century France, we get a busy Mefistofeles who can’t, for one thing, stop changing his clothes: First tails and top hat, then ridiculous, bulbous pantaloons and red tights; a soldier’s uniform with white cape lined in bright red follows, and then, in the Church Scene, he sports a rubber, white, show-all body suit. Yipes. The Kermesse Scene is crowded and busy enough to be a bad dream of Franco Zeffirelli’s, and elsewhere, when one thing happening on stage is enough, there is endless movement. It’s like rush hour. The church is even crowded with devils – and a figure of death (yes, the old man with a scythe) strolling about. On the other hand, Faust’s study is suitably gloomy and bookish and the Garden Scene is pretty, chock-filled with flowers and a huge shade tree. But in general it’s a hodge-podge, and you’re left with the feeling that the production team was wondering what they should do next to keep the audience’s interest. Why does Mefistofeles travel with two assistants? Never mind. But the music! James Levine opts for some quick tempi – the opening of the Kermesse, even Faust’s aria – in a successful effort to play down the sentimentality in the score - and it works. He underlines the lyrical movements and brings fire to the choruses and menace to Mefistofeles’ solos; the drama is always vivid and the Met Orchestra is at its best. And the cast is a dream. Bass René Pape grows in stature season-by-season. His grand bass voice encompasses every nuance of the role: This Mefistofeles has nothing to prove and doesn’t grandstand. When he’s being cursed by the townsfolk in the Kermesse Scene, he blithely leads their hymn like a choral director. The voice is huge in “Le veau d’or” and graceful in the fourth act serenade. Mr Pape’s Mefistofeles is charming, smug and witty. And just about ideal. Almost on the same level is the Faust of Roberto Alagna. Mr Alagna can be an uneven singer; Tuesday night he was nothing of the sort. His phrasing was elegant, his French impeccable, his high notes rang out brilliantly and he delivered as much sweet, soft singing as he did powerful and heroic. His “Salut demeure” was gloriously sung. Bravo. Finnish soprano Solie Isokoski’s lovely voice is just fine for Marguerite, and her shy, retiring portrayal proved very moving. More sparkle in the Jewel Song (which contained odd almost-trills on the wrong note) would have been welcome. And who can resist Dmitri Hvorostovky’s Valentin? Impressive to look at as always, Mr Hvorostovsky kept his tone high and bright, erring only on an interpolated high A flat in his big aria: if you’re adding a high note, make sure it’s a good one. Rounding out the major players was the splendidly sung Siebel of Kristine Jepson; Patrick Carfizzi made a fine, spirited Wagner and Jane Bunnell’s Marthe was impressive. In all, this is quite a show. The production may make you giggle – it’s really not quite certain what it’s doing – but the singing will make up for any doubts you have. Robert Levine