German opera houses would often present Gounod’s Faust under the title Margarethe, in part to distance the work from comparisons with Goethe’s drama. The reasoning was that Gounod had shifted the dramatic center of gravity, transforming Goethe’s philosophical drama into a more conventional Romantic love story. After hearing this performance, however, one might make a different argument for renaming the opera after its heroine, given the extent to which Renata Scotto dominates the evening. She is perfectly suited to the role, navigating the coloratura with bravura before pivoting to the kind of dramatic vocalism one might expect from Aida.

Flaviano Labò sings the title role, marrying French elegance with Italianate phrasing. Ruggero Raimondi delivers one of the most beautifully sung Méphistophélès I have heard, exuding the same kind of charm that made his Don Giovanni so irresistible. One only wishes that Piero Cappuccilli had more to do as Valentin, but when he is on stage he is magnificent, particularly in his death scene. The one curious casting decision is the use of a tenor in the role of Siébel.