Chicago Reader - Highly Recommended
"...The vocal performances in Lyric Opera’s new production of Charles Gounod’s Faust are first-rate—especially tenor Benjamin Bernheim in the title role; soprano Ailyn Pérez as Marguerite, for whom he sells his soul; and bass-baritone Christian Van Horn as a slick Méphistophélès."
Chicago Stage Review - Highly Recommended
"...With Faust, Gounod strikes compelling balances between deep emotion and dramatic spectacle, intimate serenades and rousing choruses, the glory of love and the tragedy of damnation. We travel between these diverse emotions and settings at an exciting pace, and under the insightful direction of French conductor Emmanuel Villaume, the Lyric Opera Orchestra transports the audience seamlessly from one vignette to the next with masterful precision and grace. As always Michael Black's incomparable chorus creates an exterior world for the characters of Faust to inhabit, from rollicking tavern to candlelit cathedral. With this visionary new production, director Kevin Newbury triumphs with a combination of brisk pacing, visual complexity and the flawed anti-heroes that contemporary audiences crave, without losing sight of the universal conflict at the heart of the Faust legend."
Chicago On the Aisle - Highly Recommended
"...A “Faust” production can tip the dramatic focus toward any of the three principal characters: the disillusioned Faust who summons the devil in despair; the innocent Marguerite who is contemptuously pawned; or Méphistophélès himself. This production makes much of the evil angel played by bass-baritone Christian Van Horn. Imposing in voice and height alike in his role debut as a stylish seducer of souls, Van Horn’s debonair Méphistophélès seemed delighted by his job’s nefarious challenges."
Stage and Cinema - Recommended
"...Bold, eclectic and experimental, Lyric Opera’s new production (co-produced with Portland Opera) of Gounod’s Faust comes across as rather jumbled, a mishmash, a hodgepodge — even a farrago. Thought it might not be entirely coherent, the result is surprisingly enjoyable, thanks above all to Gounod’s searing and sumptuous score, an outstanding cast led by French tenor Benjamin Bernheim, and production designer John Frame’s intriguing aesthetic."
Around The Town Chicago - Highly Recommended
"...Charles Gounod's Faust is something unusual: an opera with several parts you can tap your foot to. Granted, those parts may be the devil's hymn to the golden calf or a woman's delight at finding jewelry that is probably cursed, but it's still a sprightly score."
WTTW - Somewhat Recommended
"...In an effort to make things feel a bit more modern, Lyric Opera of Chicago’s new production of the work unnecessarily complicates matters. Directed by Kevin Newbury (who staged “Bel Canto” at Lyric a couple of seasons back), it is so full of distractions that Faust sometimes gets lost in the shuffle. And while it is visually captivating, the incongruous mix of multimedia surreality devised by John Frame, combined with the old-school realism of set and costume designer Vita Tzykun, proves to be an awkward fit that would serve such operas as “Hansel and Gretel” or “The Nose” far better."
Classical Voice America - Highly Recommended
"...Tenor Benjamin Bernheim stopped the show with his ringing delivery of Faust's big aria "Salut! demeure chaste et pure" - a pause that provided a delicious extra moment to take in the seemingly endless wit and whimsy of designer John Frame's surreal set."
Chicagoland Musical Theatre - Highly Recommended
"...While there is sometimes a lack of clarity in the world the production team has created for Faust, there is never a lack of emotion. The crack team of performers at the helm of the show expertly interprets the incomparable melodies of Gounod to create an emotional journey that will touch modern audiences as much as it did 150 years ago."
Third Coast Review - Somewhat Recommended
"...By the time we make it to the climactic end of the production—some find salvation, others do not—I found myself wondering what a “traditional” production of Faust must look like. The music, the characters, the plot—these elements endure however the show is presented at each new iteration. Credit to Lyric for taking a risk here to showcase a new vision; imagine if Miranda had never pursued a musical about the first Secretary of the Treasury. Unfortunately, Faust as it’s realized here won’t be remembered as such a game-changer."
Chicago Theater and Arts - Highly Recommended
"...The character of Faust has become so popular that similar to Scrooge as a name for someone who is a miser, Faustian has been coined to mean a bargain with the devil or a greedy or promoting action made without thought or care about the consequences."
Picture This Post - Recommended
"...Abundant in concept and beautiful performances, Lyric’s Faust is a detailed, sensory experience. While the shadowy nature of its visuals at times obfuscated the storytelling for this reviewer, opera lovers and neophytes alike will no doubt find much to like in this gorgeously produced opera."
NewCity Chicago - Highly Recommended
"...Conductor Emmanuel Villaume holds the reins with the aplomb that only deep affection for the piece and our orchestra can afford. The entire cast parades the chiaroscuro-singing that harkens back to the glory days of “the old Met,” Lyric having blessedly eschewed the frequent casting of lighter voices for this opera. They soar over the orchestra but never with a grainy, whooping sound."
