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For its tenth "Faust" of the still-young season, the Metropolitan ventured the uncharted way of three American principals, of whom only John Alexander as Faust had sung his role previously on its stage. That it came out at a recognizably

artistic destination was due, in its first instance, to the aptitudes and instincts

of Justino Diaz. The young basso's solid column of sound, from the top to the bottom of his range, provided a vibrant support to the requirements of Gounod's

music. And, despite his youthful bearing (incongruous for one who has been so

long in the Devil business as M?phistoph?l?s) there was the makings of an excellent dramatic impersonation in his easy assumption of the prominent part

in the drama its performer must bear. Alexander's artful management of line and phrase qualified him as the vocal equal of anyone yet heard in the season's sequence of performances, but he could do much more, dramatically, without verging on anything close to overacting. Mary Costa's conception of Marguerite, for all its visual appeal, was vocally tentative, breathy, and lacking either the quality or quantity of sound that earned her a Metropolitan opportunity. The orchestra responded well to George Pr?tre's persuasive direction.

Search by season: 1965-66

Search by title: Faust,

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