With more than 100 members of the London Symphony Chorus crammed onto the platform along with a full-size orchestra that fielded among other instruments four harps, two tubas, and six basses, it was suddenly clear that Rattle’s argument for a new supersize concert hall in the City has something going for it.
Berlioz’s treatment of the Faust story is markedly different from that of Gounod. Aside from the chorus, Berlioz concentrates on just three protagonists – Faust, Mephistopheles, and Marguerite, with a cameo role in the tavern scene for student Brander (Gabor Bretz).
American tenor Bryan Hymel superbly conveyed Faust’s world-weary discontent at encroaching age in his slightly pinched tone at the start.
Baritone Christopher Purves, replacing an indisposed Gerald Finley at short notice, took to the role of Mephistopheles with gusto. He was delightfully malignant as he insinuated his way into Faust’s trust, offering first a life of carousing in taverns and when that was rejected, a vision of the beautiful virgin Marguerite.
Karen Cargill was sublime as Marguerite, her burnished mezzo bringing out the emotional depths of the role. In the ballad of the King of Thule every word was imbued with feeling. Wonderful harmony too in the fusion of voice with the playing of viola soloist Alexander Zemtsov.
The Tiffin Boys’ and Girls’ Choirs and Children’s chorus filed down the aisles for the redemptive finale as the soul of Marguerite is received into Heaven by the seraphim – a moment that brought tears to the eyes.
The 11 days culminate today (Sunday) with a concert (returns only) of Stravinsky’s The Firebird, Petrushka and The Rite of Spring, to be live-streamed on LSO’s You Tube channel and on classicfm.com
Berlioz’s The Damnation of Faust London Symphony Orchestra/RattleBarbican Hall, London EC2 (Tickets: 020 7638 8891/barbican.org.uk; ends today/ Sunday )