[Met Performance] CID:208340



Faust
Metropolitan Opera House, Sat, October 29, 1966 Matinee





Faust (606)
Charles Gounod | Jules Barbier/Michel Carré
Faust
Gianni Raimondi

Marguerite
Mirella Freni

Méphistophélès
Giorgio Tozzi

Valentin
Sherrill Milnes

Siebel
Marcia Baldwin

Marthe
Shirley Love

Wagner
Russell Christopher

Dance
Ivan Allen

Dance
Sally Brayley

Dance
Patricia Heyes

Dance
Tania Karina

Dance
Donald Mahler

Dance
Naomi Marritt

Dance
Nira Paaz

Dance
Howard Sayette


Conductor
Georges Prêtre







Review 1:

Review of Robert Levine in The Statesman, Long Island University

IN THE CITY:

"FAUST," WELL DONE

On Saturday, October 29, I attended a performance of Gounod's "Faust" at the beautiful new 49 million dollar Metropolitan Opera House at Lincoln Center. The house itself is glorious (in red, white and gold), two beautiful 35 foot high murals by Marc Chagall adorn the lobby, and they, like the rest of the house, should be seen by opera-lover and non opera-lover alike.

Inside the house, the "Faust" was a fine performance. The three leads (Giogrio Tozzi as Mephistopheles, Gianni Raimondi as Faust, and Mirella Freni as Marguerite) all have a good control of the French language, and that was most welcome. Mr. Raimondi sang beautifully, with only slight evidence, at times, of strain. Mr. Tozzi was properly evil as the devil - his voice was quite beautiful for the first two acts of the opera - and while he did seem to have some serious trouble in the first act he soon repaired his former eloquence. Miss Freni acted and sang flawlessly - she is a perfect musician with a great deal of sensitivity and a very beautiful voice. She looked lovely - she is a most attractive woman.

Smaller Roles

Special credit must go to Sherrill Milnes, the baritone, who sang the role of Marguerite's brother. This first act aria was perfect, and his death scene truly touching. Marcia Baldwin as Siebel sang most appealingly also. The chorus was marvelous in their famous third act number.

Conductor Pretre

Georges Pretre, the conductor, was very relaxed, too much so, I felt, in the first scene of the opera. It tended to drag a bit, but the pace was lifted later on, and he once again proved that he is just about the best conductor of French opera around today.

The slightly surrealistic sets for the production are by Jean-Louis Barrault, and they are really something to see. They are very unusual, but never detract from the performance. "Faust" is one of the best productions currently on the Met's roster and really should be seen by everyone with an interest in music and art.



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