UTAH SYMPHONY and CHORUS, Abravanel Hall, Sept. 27; second performance Sept. 28, 8 p.m., tickets at 801-355-2787, 888-451-2787 or www.utahsymphony.org
When Hector Berlioz first read Johann Wolfgang von Goethe’s Faust as a young man he was mesmerized by the story of the scholarly Faust selling his soul to the devil in exchange for experiencing worldly pleasures. But it wasn’t until nearly two decades later that Berlioz finally wrote what arguably is his masterpiece, La damnation de Faust, a large scale treatment of the Faust legend full of dramatic power and vivid imagery.
Thierry Fischer (Photo Courtesy: Utah Symphony)
Berlioz’s Faust is on the Utah Symphony program this weekend. Under the direction of Thierry Fischer, Friday’s presentation was unquestionably the best performance of a large choral/orchestral work by the orchestra in a very long time. Fischer is a remarkable exponent of the French composer’s music. He was in charge of the score from the opening measures. He knew exactly what he wanted and he elicited a superbly crafted reading from his forces that was powerful and emotionally charged.
Under Fischer’s tenure the Utah Symphony has steadily improved in artistic integrity. And Friday it once again showed it is an orchestra to be reckoned with. Its playing was articulate and well executed and filled with nuance and finely molded phrasings. This was close to being a flawless performance from the ensemble.
The trio of soloists was also exceptional.
Michael Spyres (Photo Courtesy: Michael Spyres)
Singing Faust is tenor Michael Spyres, for whom the role is tailor made. He brought credibility to his portrayal of the world weary Faust who literally blossoms when he falls in love with Marguerite. Spyres has a lightly shaded but strong voice that is wonderful in its entire range; his lower register is warm and his high notes, which he sang effortlessly, bright. He brought a wide palette of expressions to his singing that gave his character depth and dimension.
Baritone Roderick Williams sings Mephistopheles. He brings a good balance of disarming charm and sinister eeriness to his role. He has a rich, well modulated voice and finely tuned expressions that he uses to good effect as he first persuades Faust to join him in some adventures and later when he tricks him into signing a document that damns him to hell.
As Marguerite, mezzo-soprano Kate Lindsey was marvelous. She brought magnificent warmth and lyricism to her part. She sang with conviction, feeling and expressiveness.
In the small role of the student Brander, bass Adam Cioffari held his own against the more experienced voices. He is a young singer who shows a lot of potential.
The Utah Symphony Chorus, which also included singers from Utah Opera and the University of Utah Chorus, gave a stellar performance as one would expect. This is an exceptional vocal ensemble who always delivers well polished performances.
This is Berlioz done right.