Washington Concert Opera presents Gounod’s “Faust”
Where: George Washington University’s Lisner Auditorium, 21st and H streets NW
When: 6 p.m. Sunday
Info: $30 to $90 single, or subscription $81 to $162; 202-364-5826
One of opera’s renowned “bad boys” is back.
“I’ve always enjoyed playing villains,” bass-baritone John Relyea said. He returns to Washington Concert Opera to explore in depth his musical relationship with the evil Mephistopheles in its production of Gounod’s “Faust.”
The performance also stars tenor Charles Cartronovo and soprano Amanda Majeski. Artistic Director Antony Walker conducts the soloists, WCO orchestra and chorus.
“I have a very good time with devil roles such as the villains in ‘Tales of Hoffmann’ and King Philip in ‘Don Carlos.’ Mephistopheles is a wonderful three-dimensional character who is always in command in both this opera and ‘The Damnation of Faust’ by Hector Berlioz. He’s the perfect package of sarcastic humor and completely intimidates Faust. To create the vocal colors, I look for what the text is telling me, the closest you can get to the character.”
Relyea will have his way with the Berlioz Mephistopheles in his debut with the Lyric Opera of Chicago in February, then closes the San Francisco Opera season with the Gounod version once again. The villains he dotes on are worlds away from Figaro, the role Relyea performed last month at the Met. In between are a handful of Mozart and Verdi requiems, the most recent with the Los Angeles Philharmonic under the charismatic new music director, Gustavo Dudamel.
“It’s very exciting working with him,” he says. “He’s one of those rare conductors, like Simon Rattle, who telegraphs energy. This is not something you can learn. The energy is right there artistically and technically. He has great enthusiasm and passion and he’s fun to watch. A lot of young conductors have initial hype, but he’s the real deal.”
Born in Canada to professional singers, Relyea has been a connoisseur of music and outstanding musicianship since childhood. After playing guitar in rock bands from age 9, he and his cousin hit Los Angeles at 17 as long-haired rockers. The awakening to his true potential occurred when he discovered his rich voice and realized that he could do more than play an instrument; he could be the instrument.
Upon graduating from Curtis Institute of Music in Philadelphia, Relyea was selected for the prestigious San Francisco Opera Merola program. The 2003 Richard Tucker Award and roles with major opera companies in this country and abroad brought rapid recognition. Today he appears frequently as soloist with the Philadelphia Orchestra, Boston Symphony Orchestra, New York Philharmonic, London Philharmonic, the Swedish Radio Symphony Orchestra and many others and is the recipient of the 2009 Beverly Sills Award.
“I enjoy the idea of change from an acting perspective,” he said. “Different characters give flexibility both physical and mental. Figaro has been the mainstay of my career, the backbone of my voice development, but now I’m moving into Verdi and Wagner.
“Each new character and each new experience keeps your thinking multilevel and helps you gain perspective. This is the first time I’ve sung this role in a concert version. It’s such a great story that, despite the absence of scenery, I can move around on stage and help the audience use their imaginations. I want them to discover that I can pull all the tricks out of the bag.”
