The National Opera presents the five-act grand opera “Faust” by Charles Gounod – one of the most successful works of the French repertoire – from April 6, 2022 and for eight performances at the Stavros Niarchos Hall at the SNFCC, under the direction of Pierre DiMitou, choreography, kinesiology Renato Janella.
Starring distinguished Greek and foreign soloists such as, among others, Ivan Magri, Giannis Christopoulos, Irina Lungou, Vasiliki Karagianni, Giannis Giannisis, Tassos Apostolou, Petros Magoulas and others.
The successful production of 2012, which was presented at the Athens Concert Hall, is revived this year for the first time at the Stavros Niarchos Hall. Guno’s “Faust” is a typical example of a French grand opera and is the first of its kind to be so successful worldwide. “Faust” is based on a poetic text by Jill Barbier and Michel Carre, who drew their material from the play “Faust and Margarita” by Carre (1850), as well as from the first part of “Faust” by Johann Wolfgang. von Goethe (1808) in his French translation by Gerard de Nerval (1828). From its premiere in Paris in 1859, “Faust” remained the most popular lyric work until about World War II.
From Goethe, “Faust” holds only the narrative and bypasses the philosophical background: the old scientist Faust sells his soul to Mephistopheles, in exchange for youth and love. At the center of the opera is not so much Faust himself as Margarita, who is transformed thanks to love and eventually pays hard for her choices.
The director, choreographer, former director of the ELS Ballet and current director of the National Ballet of Slovenia, Renato Janella, has been the director of the Vienna State Opera Ballet, the Verona Arena and the National Ballet for a long time. production, transferring the project hypothesis to an old empty classroom. There, in front of blackboards full of knowledge, Faust, alone, is tormented by the fundamental questions of life, death, love, happiness. In his blurred mind he meets Mephistopheles, who, lured by Margarita, convinces him to sign the agreement with the Devil.
The production had received positive reviews in 2012 in its first upload, both for the modern directorial approach and the imaginative use of ballet by Tzanella as well as for the correct guidance of singers and choir and the consistent drama in the work, within the inspired setting of Alessandro Camera and with the impressive costumes of Carla Ricotti.
Janella notes: “I place the case in an old, empty classroom. The time and place are not specific. There are blackboards full of information all around. The desks are empty, students have not been around for years, but Professor Faust returns every day and continues to teach. He can not believe that everything is over and that he is left alone. The passage of time, his sadness and loneliness have caused confusion and aggression. Questions about life and death come to mind. He is looking forward to welcoming the day of his death, but this time has not yet come.
Do we learn to live or do we live to learn and what price does one pay when one dedicates life to one’s passion, forgetting reality, forgetting to follow one’s true feelings?
Faust decides to face death by suicide. And because God did not answer his questions, he wants to meet Satan, lest he give him the answers he is looking for. Satan sends Mephistopheles to him, who overtakes him at the last moment and offers him a deal: He will give Faust everything he asks for, but he will take his soul in return. But Mephistopheles knows more. He knows Faust’s love for one of his students, Margarita, and in his cynical play he reveals the object of desire to Faust, who can no longer be restrained, and signs the fatal agreement.
My approach moves away from both the supernatural and the religious element and places man and his weaknesses at the heart of the matter. Is Faust really getting young again or is Mephistopheles just showing him what he wants to see? Do they really leave the classroom in order to travel to other places and live the most impressive adventures or do they never leave the classroom? “Is this room the head of Faust, full of so much information that he can not distinguish the real from the imaginary?”
The production is directed by the distinguished French chief musician Pierre Dimousso, in his second collaboration with ELS, after “Lucia di Lammermoor” in 2019. Dimouso was awarded a few days ago by the French Victoires de la Musique awards as the best up-and-coming chief musician of the year . Dimuso studied conducting at the Paris Conservatory and continued his training at the PSPBB. Despite his young age, his repertoire is very wide and extends from the 18th to the 21st century. He has conducted operas and ballets in major opera houses in France, collaborating with important orchestras, ensembles, lyric singers and composers.
The title role is shared by tenors Ivan Magri and Giannis Christopoulos. The role of Margarita is shared by Irina Lungou and Vasiliki Karagianni. The role of Mephistopheles is played by three leading Greek bassists, Giannis Giannisis, Tassos Apostolou and Petros Magoulas.
The distribution is completed by distinguished and younger Greek soloists, such as Dionysis Sourbis, Nikos Kotenidis, George Mattheiakakis, Kostis Rasidakis, Miranda Makrynioti, Diamantis Kritsotakis, Anna Agathonos, Chrysanthi Spitadi. The Orchestra, the Choir and the Ballet of ELS participate.
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