[Met Tour] CID:165750



Faust
Fox Theatre, Atlanta, Georgia, Tue, May 4, 1954 Matinee





Faust (512)
Charles Gounod | Jules Barbier/Michel Carré
Faust
Eugene Conley

Marguerite
Victoria de los Angeles

Méphistophélès
Jerome Hines

Valentin
Frank Guarrera

Siebel
Margaret Roggero

Marthe
Thelma Votipka

Wagner
Lawrence Davidson


Conductor
Kurt Adler







Review 1:

Paul Jones in the Atlanta Constitution
Revised “Faust” Rated Opera at Its Grandest

The Met’s new production of Gounod’s “Faust” as presented Tuesday afternoon at the Fox Theater, was grand opera in its grandest manner.


The tragic work which has been converted into a spectacular show with the most exciting sets one could imagine likely will take the top spot in the hearts of opera lovers here, for we felt after hearing this wonderful opera that anything which follow would be an anti-climax.


The new production is swifter in pace, and has an exciting “new look.” And as sung by the galaxy of great stars at the matinee it has been reinstated as a favorite Atlantans will want to hear again and again.


UNIFORM EXCELLENCE

The singing was uniformly excellent. To be sure, Jerome Hines, Victoria de los Angeles, Frank Guarrera and Eugene Conley shared more generously the fruits of Gounod’s great music. But the supporting team of Margaret Roggero, Thelma Votipka and Lawrence Davidson were especially good, too.


The audience’s enthusiasm was almost equally divided between the soloists, with first Hines, then Guarrera, then Conley, Miss Los Angeles becoming the favorites for an act or a scene at a time. If there was a pronouncer favorite in the cast it was Hines, whose dramatic talents and great voice have many times been recognized in Atlanta.


Hines’ smirking, evil Mephistopheles was dramatically perfect. And he has the voice to go with his imposing physique. Guarrera, on the other hand, was a dashing, handsome Valentin and his operatic highlights were apace with the excellent production. Conley’s first act recitation was superb and he and Miss Los Angeles produced a perfect blending of voices in the impressive love duet. Miss Los Angeles’ “Jewel Song” a lesson in great singing, a real highlight of this wonderful show.


SCENIC COLOR

The Fair Grounds scene of the first act has been treated with resplendent scenic color, and the waltz ballet which climaxes this scene has been revitalized into one of the most eye-appealing scenes from opera. Other settings embellished the dramatic importance of the show.


Obviously in the interest of time, the Met canceled the first scene of the final act, but this omission did not materially detract from the production. The new version is no longer suitable as a matinee opera when an evening performance is scheduled.


Kurt Adler’s sensitive direction made this one of the highlights of this, or any opera season.



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