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The Royal Opera
Music Director Designate
Jakub Hrůša
Director of Opera
Oliver Mears

Faust

OPERA IN FIVE ACTS

Cast sheet

Sunday 25 May 2025

|

5.15pm

The 474th performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing Trust

With the generous support of Aline Foriel-Destezet Season Principal

Generous philanthropic support from Dr Michael Engel, Mrs Trevor Swete and Royal Ballet And Opera Patrons

A co-production with Opéra de Monte-Carlo, Opéra de Lille and Fondazione Teatro Lirico Giuseppe Verdi, Trieste

Approximate timings

The performance lasts approximately 3 hours and 40 minutes, including one interval
Act I and II
60 minutes
Act III
55 minutes
Interval
30 minutes
Act IV and V
75 minutes
Credits

Music

Charles-François Gounod

Libretto

after Carré’s Faust et Marguerite and Johann Wolfgang von Goethe’s Faust Part I

Jules Barbier, Michel Carré

Conductor

Maurizio Benini

Director

David McVicar

Revival Director

Peter Relton

Set designer

Charles Edwards

Costume Designer

Brigitte Reiffenstuel

Lighting Designer

Paule Constable

Choreographer

Michael Keegan-Dolan

Revival Choreographer

Emmanuel Obeya

Performance materials for Faust edited by Paul Prévost, published by Bärenreiter Verlag, Kassel. Performed by arrangement with Faber Music Ltd, London
Cast

Faust

Stefan Pop

Méphistophélès

Adam Palka

replaces Erwin Schrott

Marguerite

Carolina López Moreno

replaces Lisette Oropesa

Valentin

Boris Pinkhasovich

Siébel

Hongni Wu

Marthe Schwertlein

Monika-Evelin Liiv

replaces Rosie Aldridge

Wagner

Ossian Huskinson

Actors

Azzurra Caccetta, Matthew Daw, Irene Hardy, Becky Scarrott, Sirena Tocco, Vlad Troncea, James Unsworth, Addis Williams

Dancers

Natasha Chu, Krystine Cunningham, Olivia Devine, Viva Foster, Megan Griffiths, Keiko Hewitt-Teale, Mette Nilsen, Belinda Roy, Anna Smith, Natasha Trigg, Harry Wilson, Ena Yamaguchi

Children

Prince Conteh, Arlisa Ebeja, Jasper Franklin, Francesca Higginschiappetta, Ivy Legroux, Elliot Michael, Maguette Ndiaye, Laurence Salmon

Ossian Huskinson is a Jette Parker Artist
Music credits

Chorus

Royal Opera Chorus

Chorus Director

William Spaulding

Orchestra

Orchestra of the Royal Opera House

Concert Master

Sergey Levitin

Extra chorus

Sopranos

Bernadette Lord, Juliet Schiemann, Vanessa Woodfine

Mezzo-sopranos

Jeanette Ager, Maria Brown

Tenors

Phillip Bell, Simon Biazeck, Edmond Choo, Andrew Friedhoff, Elliot Goldie

Basses

Michael Burke, Oliver Gibbs, Gavin Horsley, Jochem van Ast, Jon Wood

Production credits

Music preparation

Thomas Blunt, Nicholas Ansdell-Evans

Assistant Director

Emma Doherty

Assistant to the Revival Choreographer

Kate Scott

Fight Director

Terry King

Intimacy Co-ordinator

Ingrid Mackinnon

Language Coach

Sonja Nerdrum

Patron

HM The King

Music Director Designate

Jakub Hrůša

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Associate Director

Netia Jones

Administrative Director

Cormac Simms

Weary of life and the vain pursuit of knowledge, the aged Faust decides on suicide. He is stopped in his tracks by ...

ACT I


Weary of life and the vain pursuit of knowledge, the aged Faust decides on suicide. He is stopped in his tracks by the light of dawn and voices singing God’s praises. Faust bitterly renounces God and calls on Satan. Méphistophélès duly appears. He will satisfy Faust’s hedonistic demands in return for the philosopher’s soul. Hesitating at the last moment before signing the diabolic contract, Faust is finally swayed by a vision conjured up by Méphistophélès of the beautiful and innocent Marguerite: Faust must have her.


ACT II


The town is celebrating. In their midst, Valentin is preoccupied with thoughts of leaving to fight in the war. He asks his friends to look after his sister Marguerite while he is away; among them is Siébel, who is in love with her. They are interrupted by Méphistophélès, who sings a blasphemous song and makes innuendos about Marguerite. This is too much for Valentin who is roused to defend his sister and attack Méphistophélès, but his sword breaks mid-air and everyone hastily withdraws. Méphistophélès is joined by Faust; when Marguerite appears she rejects Faust’s attentions.

ACT III


Siébel leaves a bouquet of flowers for Marguerite. Next, Faust extols the virtues of Marguerite’s home while Méphistophélès also finds something to leave her: a box full of jewels. Marguerite appears, lost in thought, but is overcome with excitement as she discovers the jewel box and tries on its contents. Marthe Schwertlein, Marguerite’s neighbour, thinks that the jewels must be from an admirer. When both women are joined by Méphistophélès and Faust, the former distracts Marthe so that Faust can seduce Marguerite.

INTERVAL
ACT IV

Five months have passed. Marguerite has been deserted by Faust, but is carrying his child. In church, her prayers are repeatedly interrupted by demons. She faints as Méphistophélès’s final curse denies her the hope of salvation. Soldiers return from the war, Valentin among them. He asks Siébel to tell him how his sister is, but Siébel’s evasions prompt him angrily to rush into Marguerite’s house to find out for himself. Méphistophélès and Faust arrive, and the Devil satirically serenades Marguerite. Valentin emerges from the house demanding to know who is responsible for his sister’s shame. In the ensuing duel, Faust mortally wounds Valentin, who with his final words denies Marguerite any Christian compassion and damns her for eternity.


ACT V

It is Walpurgis Night and a diabolic ballet ensues. Faust is subjected to visions, the last of which is of Marguerite in prison for the murder of their child and awaiting execution. Faust wants to go to her, and Méphistophélès obliges. Together in the cell, Faust and Marguerite remember their shared moments of love and Faust urges her to flee with him, but she resists, calling for divine protection. Marguerite’s supplication is answered: her soul ascends to heaven.

Guidance
Suitable for ages 12+
Contains depictions of religious icons that some may find offensive. There are stylized depictions of sexual violence, drug use and infant death. There is a gunshot in the performance.

Language

Sung in French with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium.
Further information

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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