Faust at Bayerische Staatsoper

Faust | Bayerische Staatsoper | 16.2.26

With Charles Gounod’s new production of Faust, the Bavarian State Opera presents an impressively updated music theatre experience that reimagines a story well known in Germany from school days as a multi-layered study of temptation, guilt, and redemption. Lotte de Beer’s production approaches the material consciously through multiple historical lenses – from Goethe’s Urfaust to Faust I and II, and ultimately to Gounod’s Romantic opera – translating it into a contemporary reading of good and evil.

Visually, the production relies on a clear, reduced aesthetic. The stage – a cosmos of metallic, gleaming walls and a slate-like floor – continuously reveals new perspectives through the revolving stage, almost like glimpsing what lies beneath the surface of reality. Particularly striking is Faust’s initial appearance as a frail old man in a wheelchair, before his transformation, after the pact, into a vigorous young gentleman. This transformation finds its visual counterpart in Marguerite and reflects a worldview in which change seems hardly conceivable without supernatural intervention. The impact is further intensified by the lighting design, which employs precise chiaroscuro contrasts reminiscent of Caravaggio – especially striking, for instance, in the final act set in Méphistophélès’ realm.

Musically, the evening is shaped by Nathalie Stutzmann, who draws a focused and finely balanced sound from the Bavarian State Orchestra. Her interpretation avoids excess, instead favouring transparency, structure, and an organic development of musical lines. Gounod’s score unfolds with both lyrical elegance and dramatic intensity. The chorus, prepared by Christoph Heil, proves to be one of the pillars of the performance – homogeneous, precise, and dramatically compelling throughout.

Among the cast, Kyle Ketelsen stands out as Méphistophélès. With vocal authority, excellent French diction, and a fascinating blend of irony and demonic presence, he creates a portrayal of remarkable depth. Every phrase seems tinged with sardonic delight, and he often drew the strongest applause of the evening. Olga Kulchynska’s Marguerite is marked by a finely balanced combination of lyrical lightness and dramatic intensity. She is particularly convincing in the “Jewel Song” and in the final scenes, combining emotional sincerity with technical assurance. Jonathan Tetelman delivers a bright, passionate Faust, with a clearly focused timbre and secure top notes. His interpretation leans more toward emotional immediacy than introspective depth, yet remains vocally impressive throughout. The supporting roles are equally well cast: Emily Sierra gives Siebel – here conceived as a trans or deliberately gender-ambiguous character – a warm tone and touching sincerity; Florian Sempey impresses as Valentin with a powerful baritone and noble phrasing.

Overall, this is an evening that convinces on all levels: an intelligent, reflective staging, a musically refined direction, an excellent chorus, and an outstanding Méphistophélès at its centre. Lotte de Beer’s Faust demonstrates how a classic work can feel strikingly contemporary without resorting to superficial updating.

Anja von Rossmann