A new production of Faust at the Bayerische Staatsoper, staged by Lotte de Beer, offers a reading that is clear, intelligent, and theatrically fluid, without resorting to heavy-handed concepts. The dramatic framework is sharply defined, the visual world cohesive and purposeful, and the storytelling consistently engaging. It is a production that trusts the piece—and, crucially, its performers.
From the outset, Nathalie Stutzmann shapes a performance of structure and refinement. The Bavarian State Orchestra responds with warmth, transparency, and a finely calibrated sense of balance; textures remain clear, climaxes never inflated for effect. Stutzmann avoids excess, favouring line and momentum, allowing Gounod’s lyricism to breathe naturally. The chorus, prepared by Christoph Heil, is exceptional—homogeneous, incisive, dramatically alert. “Gloire immortelle de nos aïeux” unfolds with thrilling amplitude yet remains disciplined, one of the evening’s true pillars.
The performance, however, is dominated by an outstanding Méphistophélès from Kyle Ketelsen. Vocally commanding and dramatically magnetic, he delivers a portrayal of rare completeness. His French diction is astonishingly idiomatic—when he spits out “Vision!”, there is no audible trace of foreignness. The voice combines depth and bite, but it is his irony that truly fascinates: every phrase seems edged with sardonic delight. In his Act IV aria, with its chilling, almost mocking laughter, he reaches a peak of theatrical brilliance. It is difficult to recall a more compelling Méphistophélès in recent seasons—so vocally assured, so vividly acted, so irresistibly sinister.
Opposite him, Olga Kulchynska offers a superbly balanced Marguerite. She navigates effortlessly between bel canto poise and more expansive, dramatic lyricism. The Jewel Song sparkles without artifice; “Il ne revient pas” is shaped with touching sincerity and seamless breath control; the final scene carries genuine emotional weight. Her French, as already well known, is impeccable.
Jonathan Tetelman presents a bright, ardent Faust, the timbre clear and ringing. “Salut, demeure chaste et pure” is delivered with confident line and secure top notes. His interpretation leans toward passion rather than introspection, but vocally he remains consistently impressive.
Emily Sierra’s Siebel is both assertive and touching, warmly sung and musically refined; Florian Sempey brings a powerful timbre and splendid high notes to Valentin, his “Avant de quitter ces lieux” noble and firmly projected; Thomas Mole makes Wagner vocally present and dramatically credible despite the brevity of the role; and Dshamilja Kaiser’s Marthe is characterful and theatrically astute, never descending into caricature.
A production that succeeds on all fronts: a thoughtful staging, disciplined and elegant musical direction, magnificent choral work—and a Méphistophélès of truly exceptional stature at its centre.
***
Production
Musikalische Leitung : Nathalie Stutzmann
Inszenierung : Lotte de Beer
Co-Regie : Florian Hurler
BĂĽhne : Christof Hetzer
KostĂĽme : Jorine van Beek
Licht : Benedikt Zehm
Chor : Christoph Heil
Dramaturgie : Peter te Nuyl, Ana Edroso Stroebe
Cast
Le docteur Faust : Jonathan Tetelman
Méphistophélès : Kyle Ketelsen
Valentin : Florian Sempey
Wagner : Thomas Mole
Marguerite : Olga Kulchynska
Siebel : Emily Sierra
Marthe : Dshamilja Kaiser
