Have you ever wondered what it sounds like when an opera singer is dragged to hades on a horse? Composer Hector Berlioz did his best to resolve the issue in the 19th century, using a massive symphony orchestra, full adult and children’s choruses and operatic soloists to realize the story of Goethe’s “Faust.”
The precise moment of the good doctor’s damnation is realized with fierce, galloping strings, pleading oboe, shrieking children, cymbal crashes, and male choir belching out underworldly invectives. Musically, it’s pure horror, and Friday’s Pittsburgh Symphony Orchestra concert in Heinz Hall climaxed furiously with this most diabolical refrain.
PSO music director Manfred Honeck led the orchestra, The Mendelssohn Choir of Pittsburgh, the Pittsburgh Youth Chorus and vocal soloists in Berlioz’s “Damnation of Faust” — part opera, part cantata — which follows a melancholy Dr. Faust as he grows weary of life and accepts Mephistopheles aid in alleviating this melancholy. The results are predictable. The poor sucker.
The orchestra was, as always, spectacular through every twist and temptation of the score, roaring and cavorting at times and achingly sweet at others. The famous march showcased the trombone section to its full, unadulterated glory, perhaps themselves the strongest argument for Faust’s fall. Similarly, the Mendelssohn Choir never ceases to amaze me. This city should be proud of its choir, which demonstrated superb articulation and precision throughout whirling melodies, perfectly complimenting the music’s various sentiments. The youth chorus also distinguished itself in its brief but poignant appearances, and maestro Honeck’s skill in balancing such large musical forces deserves the highest commendation.
As Faust, tenor Charles Castronovo’s voice sounded a bit tight at the outset, though he warmed into the role throughout. His voice proved supple, buttery smooth, gorgeous in the lyrical character moments if a bit small for the dramatic finale. Mezzo soprano Tara Erraught, a last-minute replacement due to illness, sang as Marguerite, Faust’s heavenly squeeze. She conjured effortless innocence with a full, round timbre that she projected spinning round the hall. Baritone Alexander Birch Elliott sang as the carousing student Brander, delivering his scene with aplomb.
Easily the strongest presence, however, was bass-baritone Luca Pisaroni as Mephistopheles himself. Mr. Pisaroni stole the show from the moment he first stood up, charging even that simple movement with charm and charisma. And such a voice — his was a rich timbre, filled with light and warmth, well suited to Berlioz’s more devilish music, which up until the moment of descent, remains magnetic and seductive.
Individual moments of the concert proved mesmerizing time and again. Still, as a whole, something felt just slightly off. My take: The soloists didn’t quite match the orchestra and choir’s dramatic intensity, leading to sections that felt slightly flat. Nevertheless, for sheer spectacle and drama, Friday’s was easily one of the top concerts of the season so far. Catch it Sunday if you can.
This concert repeats Sunday at 2:30 p.m. Tickets are $20-$97; pittsburghsymphony.org.
Jeremy Reynolds: jreynolds@post-gazette.com or 412-263-1634; twitter: @Reynolds_PG. Mr. Reynolds' work at the Post-Gazette is supported by a grant from the San Francisco Conservatory of Music, Getty Foundation and Rubin Institute.
First Published: March 9, 2019, 5:32 a.m.
