Boito's Mefistofele is a very interesting opera. While not as well-known as Gounod's Faust (which I feel a slightly more superior version of the story), the story still arrests and Boito's music (the most memorable parts being the Walpurgis Night Scene and Son Lo Spirito) is both beautiful and powerful.
This 2014 production from San Francisco is not quite as good as the 'devilishly good' production from 1989 – also from San Francisco- with Dennis O' Neill, Gabriella Benackova and Samuel Ramey, but it is still a very good production and of this and I Capuletti e I Montecchi this is the far superior of the two.
Although it has more pros than cons, this Mefistofele is not entirely perfect. The visuals at the beginning, for personal tastes, were a touch too drab, it wasn't a problem in the previous production (a production that worked wonders with its minimalist production values) but as production values in opera (when done right. ) have come on a lot since there was a little more expected. A bigger problem was Ramon Vargas, while this viewer has seen Vargas in a fair few productions and has liked him very much in most of them he seemed rather taxed in this production. While he improves in the latter parts of the production, Vargas did sound rather strained and not as effortlessly lyrical as he usually is and while Faust is not the most interesting character of Mefistofele in the first place Vargas is also unusually stiff and pallid here.
Despite any drawbacks however, there is a lot to recommend. While not exactly elaborate, the production values are effectively atmospheric and suit the mood the mood of the opera very well. It is atmospherically lit and well-costumed, and the video directing is done with clarity, sympathy and focus, especially in the otherwise poignantly done prologue. Boito's music is performed with power and nuance by the orchestra, and are matched perfectly by not only Nicola Luisotti's accommodating but also authoritative conducting but also the often hair- raising chorus (especially electrifying in the final scene.
With the exception of Vargas, the principal performances are great. Patricia Racette is both affecting and heroic as Margherite and Elena, and she sings with strong, moving timbre and little squalliness and strain. Which brings one to the consistently strong Ildar Abdrazakov, who is excellent in the title role. Despite giving a performance strongly indebted to the performance of Ramey (and maybe a little more could have been done to go beyond that), Abdrazakov is characteristically in full command of the role, his musicianship is nigh-on impeccable, his singing is gloriously resonant and his acting is both funny and sinister as Mefistofele should be.
Overall, some drab visuals at the beginning and Vargas are the only drawbacks to an otherwise very good production from San Francisco. 8/10 Bethany Cox
