GOUNOD'S "FAUST"

Evening Post, Volume CXXVII, Issue 133, 8 June 1939, Page 20

GOUNOD'S "FAUST"

CHORAL UNION EXCELS

Numerous eminent composers have been fascinated by Goethe's story of "Faust," and have sought to build an opera around it, but Gounod is the only one to have achieved lasting fame in this direction. Indeed, it is mainly through his opera "'Faust" that Charles Gounod, the French composer, has secured his niche in the hall of fame dedicated to musicians. All that many people know about "Faust" is derived from Gounod's opera, which means that they know very little of the real import of Goethe's masterpiece, although they may be fully acquainted with Gounod's deservedly popular operatic version. Gounod's "Faust" was first produced in France in 1859. It was not an immediate success, and the ire of many a critic of that day was directed against it. But, like other now wellknown works, it survived the troubles of early childhood to become a pronounced success. Indeed, by 1863 it was running in London at Covent Garden and Her Majesty's Theatre simultaneously, so firmly had it established j itself as a popular favourite. Since then i operatic stars of the first magnitude ! have made their names or enhanced! 1 their reputations by appearing in the opera, and "Faust" to the general j public has never lost its appeal. The I reason for this popularity is easy to find. "Faust" has a story with features that modern film-producers hanker i after —a story of no date and of per-. [ manent human interest; there is something exciting, even melodramatic, about the supernatural element provided by his Satanic Majesty; and above all the music is tuneful and appealing to popular taste without being in any way tawdry, striking a happy mean between the classical and popular. Gounod was essentially a melodist, and the lyric beauty and sensuous charm of his "Faust" make it an ideal opera for such a body as the Royal Wellington Choral Union to produce: interest is sustained throughout in spite of the absence of scenery, costuming, and all the other appurtenances which are associated with grand opera. Such a production as that given last night in the Town Hall to a decidedly appreciative audience serves to rivet attention on the music (which, after all, is the main thing in an opera) rather than on the spectacle. Hence, anyone having heard "Faust" sung as it was last night will be much more fully equipped to appreciate the next full operatic production of the opera that is offering—a treat unfortunately all too rare in New Zealand. . . A happy selection of principals had been made for last night's performance, and, as both chorus and orchestra were more than adequate, Mr. Stanley Oliver was able to present a thoroughly artistic performance. Comparisons, as is well known, are odious, besides often not being fair, but, in some respects last night's production of "Faust" was perhaps one of the best things ever done by the Choral Union. The three characters in the opera who are most prominent are those of the unfortunate Magarita, Faust himself, and Mephistopheles. Miss Alma Clegg s voice was eminently suitable for the role of Margarita-and she invested the part with just the requisite pathos demanded, and the famous "Jewel Song was most sweetly sung. Mr. Ray Trewern was fluently lyrical in the tenor part of Faust which includes what is perhaps the finest of all tenor operatic solos —"Salve Dimora." His was a sterling performance, but perhaps the Mephistopheles of Mr. James Leighton. a singer from Auckland, appealed even more to the audience. He put into his interpretation just the right amount of sardonic humour, especially when wooing, that made it a triumph. In their concerted numbers these three artists provided several of the gems of the opera. The other three principals were Miss Molly Atkinson, in the dual role of Siebel and Martha; Mr. Geoffrey Colledge, baritone, as Valentine; and Mr. K. H. B. Strong as Wagner. Although less in the limelight, so to speak, they none the less sustained the high standard set by the other principals. The chorus of some 250 voices entered intelligently into their part, and even rapturously at times when it came to items such as the "Soldiers' Chorus." The orchestra of 40 players was at all times adequate. It was ably led by Miss Ava Symons and was assisted by Mr. Clement Howe at the grand organ. All the component parts of the production worked in full accord, with the result that last night's "Faust" may be written down as an unqualified success. It was given in response to a popular vote, and the ovation accorded at its conclusion to conductor, principals, chorus, and orchestra was fully deserved, and indicated that the public had not been disappointed in their choice of opera.