It's interesting that the Anna Livia International Opera Festival, which is seeking a new niche in the world of Irish opera, should choose to open its second year with a production of Gounod's Faust.
The festival aims to fill gaps in the operatic repertoire on offer in the capital, and although Faust was seen at the Gaiety in a DGOS Opera Ireland production as recently as 1995, Anna Livia's espousal is a recognition that the work's popularity and appeal have long been on the wane.
The strongest element in the production is the singing. Roberto Oswald's mostly slack direction, spartan settings and minimalist lighting make a drab impression, lightened mainly by the colour of the costumes designed by Anibal Lapis.
Keel Watson's physically hulking MΘphistophΘlΦs is a forced vocal presence, and in the exercise of his supernatural powers he has the uncomfortable air of someone going through the motions.
Bradley Williams as the young Faust is able and ardent, but with a hardness of tone under pressure. Nicola Sharkey's Marguerite is altogether more sympathetic, showing an understanding of tenderness as well as vocal acrobatics.
As Valentin, Marguerite's brother, Emilio Roman sounds under strain, his presence a striking contrast to the freer voice and spirit of Johanna Byrne as Siebel, the young girl's unfortunate suitor.
The general effect of the evening is on the dull side, however. The chorus sings with that enthusiasm with which many Irish opera choruses seem to want to compensate for a felt smallness of number. And, while the festival orchestra under Jacques Bodmer finds some pleasing textures and colours, neither incisiveness of ensemble nor liveliness of gesture are among its strong features.
Continues tomorrow and Saturday; bookings on 01-6771717
