We have a free weekend between Wagner’s The Ring Cycle. So what’s an opera fanatic to do? We decide to drive to Washington D.C. to see Faust at the Washington National Opera Theatre.
It is a morning of syrup and Orchids, 90 mph into the sunrise we arrive at Founding Farmers in time for pancakes (a delicious recommendation from my friend Joe). There will be lots to explore before tonight’s opera.
Of particular interest to us is Marianne Anderson’s portrait in the National Portrait Gallery. She is the opera singer from Philadelphia who sang in front of the Lincoln Memorial in 1939. Above her portrait reads a quote from Barbara Jordan, “If you are dissatisfied with the way things are, then you have got to resolve to change them.” (A dissatisfied Faust will sell his soul tonight to do just that, Anderson did it through determined excellence in her craft).
The story of her performance can be found here:
The day is gorgeous for a couple of walkers and we visit Whistler’s Peacock Room and then the Smithsonian (but Fonze’s jacket isn’t on view).
We eat dinner at the Roof Terrace Restaurant at The Kennedy Center. The foods were prepared to be photographed more than eaten, and the winds were so strong the balcony was closed, but overall the meal came fast and it was convenient to seeing the opera downstairs. After the opera there was a freezing wind and Chaltin saved us by ordering a Lyft.
I absolutely loved the Washington National Opera’s 2019 production of Faust at the Kennedy Center. It was a traditional production, gorgeously staged, and brought to life with such attention to the dramatic and emotional highs of Gounod’s masterpiece. Let me just say, Faust’s giant telescope alone was enough to stir a bit of envy—what a stunning visual centerpiece! The devil, Mephistopheles, played with gleeful malevolence by Raymond Aceto, stole the show during the lively festival scene. He danced through the crowd with such wicked charm, tempting everyone in sight, and was clearly having a ball doing it. The chorus, by the way, was absolutely glorious, adding a rich, layered texture to the drama throughout the evening.
As for the story, each time I revisit Faust, I find myself sympathizing a little more with the title character’s desperation. His willingness to make a deal with the devil just to relive his youth—well, who hasn’t at least thought about it? Just tell me where to sign.
The opera begins with Faust, wracked with despair and contemplating suicide, only to have Mephistopheles drop in with an irresistible offer: youth and fulfillment in exchange for his soul. Marcelo Puente gave a heartfelt performance as Faust, balancing his anguish and fleeting joy with beautiful vocal nuance. Faust falls for Marguerite, played with sensitivity and brilliance by Erin Wall. Together, they captured both the seduction and the heartbreak of their doomed relationship. Marguerite’s famous Jewel Song was a standout moment, sung with shimmering, crystalline beauty—one of those times you just hold your breath so you don’t miss a single note.
Of course, the story spirals into tragedy. Faust, with the devil’s help, kills Marguerite’s furious brother Valentin in a dramatic duel, while Marguerite is left to descend into madness. Her despair leads her to kill their illegitimate child, and she is imprisoned, where she finally finds redemption. Erin Wall’s portrayal of Marguerite’s fragile mental state was absolutely devastating, especially in her final moments. The production gave her redemption a luminous, almost sacred quality, and I couldn’t help but feel an emotional release as she ascended, saved by angels.
Notes on the production:
• Listen for: The Jewel Song. This aria is pure magic.
• Special mention: Raymond Aceto as Mephistopheles. His devil was playful, sinister, and endlessly entertaining.
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Composer………………………….….. Charles Gounod
Faust……………………………….……… Marcelo Puente
Mephistopheles………………….….. Raymond Aceto
Marguerite……………………..…….… Erin Wall
Valentin………………………………..… Joshua Hopkins
Wagner……………………………..…… Samson McCrady
Conductor…………………………..….. Keri-Lynn Wilson
Washington National Opera
3/16/19