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Robert J Farr
MusicWeb International, November 2017

As a musical performance, two people dominate. First, the conductor, Gianandrea Noseda, magnificently aided by the orchestra and idiomatic chorus Chorus of the Teatro Regio Turin. I have had the pleasure of hearing Nosedea conduct opera live and been impressed. Since he has taken over as Music Director at Turin his scope has widened considerably, along with acclaimed appearances on the podium at the major opera houses. I venture to suggest that one does not need a magic eyeglass to see his future in a position at a leading international house. The second most impressive participant is the Russian Ildar Abdrazakov as Méphistophélès. He bestrides the stage with stature and vocal aplomb. His acting is a match for any, and his tonal beauty and characterisation dominate with the nuances of his voice and his body language. © 2017 MusicWeb International Read complete review

Stephen Francis Vasta
Opera News, October 2016

…Gianandrea Noseda offers alert, characterful conducting—though the postlude to Act III turns heavy and monumental—and the cast is exceptionally strong. Charles Castronovo is a plangent Faust with a ringing top. His aria has dignity and warmth—though he adapts the vowel for the high C—and he’s sensitive in the scenes with Marguerite, maintaining vocal presence in softer phrases. In that role, Irina Lungu offers a clear lyric quality; she’s fluent, if trill-less, in the jewel song, and clarion in the final trio.

Vasilij Ladjuk is a first-rate Valentin, masterly in the high-lying conclusion of his aria, urgent and expressive in Act IV. Ketevan Kemoklidze, a vibrant Siebel, nails the character’s boyish physicality; Samantha Korbey, a bright- rather than deep-toned Marthe, is suitably assertive in the Quartet. © 2016 Opera News Read complete review

Bill White
Fanfare, September 2016

…the singing is generally superior and matches up with some of the best video sets. I have previously heard these three lead singers: Charles Castronovo as Faust, Irina Lungu as Marguerite, and Ildar Abdrazakov as Mephistopheles. Here, they are all at their vocal best, and Abdrazakov in particular has the deep-voiced authority to properly play the scoffing, mocking, devilish Mephistopheles. Valentin is a bit smaller role, but Vasilij Ladjuk sings just as finely as the leads. …Conductor Noseda leads the Turin forces quite successfully through Gounod’s rather uneven score. © 2016 Fanfare Read complete review

Richard Sininger
American Record Guide, September 2016

[Charles Castronovo] uses his fine lyric voice to create an elegantly-sung portrayal of the philosopher. In his aria ‘Salut, demeure’ he hits the climactic high C perfectly, followed by a model diminuendo—the kind of singing one associates with Gedda or Björling. In the ensuing love duet, his exquisite soft singing also recalls those great Fausts of the past.

As the Devil, Ildar Abdrazakov confirms his place as one of the finest basses on the world’s opera scene. A new name to me, Irina Lungu, makes a fine impression as Marguerite, her vocal beauty matched by her physical appearance. The lesser roles are all more than satisfactory, and the chorus and orchestra of the Teatro Regio perform well under their music director. © 2016 American Record Guide Read complete review on American Record Guide

Mark Pullinger
Gramophone, July 2016

GOUNOD, C.-F.: Faust (Teatro Regio Torino, 2015) (NTSC) 735108
GOUNOD, C.-F.: Faust (Teatro Regio Torino, 2015) (Blu-ray, HD) 735204

Gianandrea Noseda, the Teatro Regio’s dynamic music director, leads a taut performance, drawing fine playing from his orchestra. The cast is mostly very good. There’s a lovely burnished quality to Castronovo’s Faust and he sings a fine ‘Salut, demeure chaste et pure’, despite a slightly ungainly ending. Abdrazakov’s Méphisto is suave, with plenty of panache in ‘Le veau d’or’, …Russian soprano Irina Lungu is an affecting Marguerite; her pleasant lyric soprano negotiates the Jewel Song cleanly and her Act 3 duet with Castronovo is tenderly sung. …Samantha Korbey’s Marthe—presented as a youthful vamp—and Ketevan Kemoklidze’s sparky Siébel are bonuses. © 2016 Gramophone Read complete review on Gramophone

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