Faust

Fresh from his success as the Duke in Rigoletto, gifted tenor Piotr Beczala sings the title role of Gounod’s drama for the first time at the Met. Des McAnuff’s inventive production, updated to the birth of the atomic age, also stars Marina Poplavskaya, reprising her critically acclaimed turn as the captivating Marguerite, and John Relyea as the devil Méphistophélès. Alain Altinoglu conducts.

In the title role, Piotr Beczala “was dashing and provided the vocal highlight with ‘Salut, demeure chaste et pure’” (AP).

“Beczala, who scored a big success in the Met's new Las Vegas production of Rigoletto, was excellent as Faust. He made the transition from the verge of suicidal despair to lustful youth effortlessly, ranging from a strong lower register in the opening ‘Rien!’ to lyrical heights in ‘Salut, demeure.’” His phrasing throughout had “brilliant clarity” (Huffington Post).

Marina Poplavskaya “gave an enchanting performance as Marguerite… the emotional roller-coaster Marguerite rides was conveyed through Poplavskaya's vocal elegance, and she was especially moving in the great climactic trio (Huffington Post).

Poplavskaya “proved once again that she is among the most fascinating performers working at the Met” (New York Times).

As Méphistophélès, John Relyea “sang with power and gusto and proved to be a suave devil” (AP).

“Conductor Alain Altinoglu elicited pure spun silk from the Met orchestra: luxuriantly shimmering, with iridescent highlights gleaming in the form of one instrumental solo after another” (New York Times).

A co-production of the Metropolitan Opera and English National Opera