The accompanying reviews are mainly accurate: Sills was at the top of her form with a clear, focused voice and crystalline high notes, and as she never recorded this role, this performance is an especially valuable record. It shows the diva’s ability to create and inhabit a memorable character: her Marguerite is a young teenager, by turns shy and dangerously excited by the promise of being all grown up. It’s no surprise that Sills has the coloratura and high notes of “The Jewel Song,” but when she shows us Marguerite giggling and bubbling over with her fantasies about being a real “demoiselle,” we hear the aria in a fascinating new way. Likewise, when Faust courteously offers her his arm, Sills again shows us something new. Marguerite simply replies, “Je n'ai pas besoin qu'on me donne la main!” (Roughly, “I can walk down the street all by myself!”) and Sills artfully accents each word, giving a vivid impression of a girl (not yet a woman) who’s enjoying her first little moment of independence. This is an impressive ensemble effort, with each of the other principals clearly characterized. Treigle is a clever, dark-voiced devil and Gossa one of the nastiest Valentins I’ve heard, his Act 3 curse of his sister showing a vicious side of his sanctimonious worldview. Molese, the NYCO’s resident tenor-of-all-trades, was often under-appreciated, but he turns in a superb performance here. His “Salut! demeure chaste et pure” is sung in the Italianate mode with the jump to the high C very impressive (no scoop). The lesser roles are also handled well, and the chorus acquits itself well, particularly in set pieces such as the Act 2 waltz finale, which draws a huge hand from a happy audience.The sound does favor the orchestra over the soloists at times, I assume in scenes when the singers are at the back of the stage or facing each other rather than the audience. However, conductor Rudel draws such lovely playing from his artist that I did not mind, and the important scenes all show vocalists and instrumentalists in decent balance. Audience noise, ominously audible in the prelude, quickly settles down, and the ovations that the performers elicit shows that it was a memorably good night in the house.

This recording puts me back in the New York State Theater where I saw this cast perform in the 60s and 70s. Hearing the recording, flaws and all, gives me the same goose bumps I felt when hearing it live!

It's so good to have a decent sounding copy of this harrowing performance after all these years. What a pity Sills didn't record any of Marguerite's role in the studio. I'm not sure she liked the part all that much since it didn't provide her with the acting challenges of the Donizetti Queens for which she was better known. All the same it suited her vocally to a T. The trill in the Jewel Song gives one goosebumps and her scream at the end of the church scene is piercing. Miss Liebling was right: Sills should have stuck to this repertoire. Her voice here still has that lovely shimmering quality it had when she was being hailed as the newest operatic sensation. I wish it had lasted longer, but I love Bubbula all the same. Treigle proves again that you didn't need to see him to feel his presence. He is terrifying and certainly the dominating force of the performance. Molese was a much better singer than he's usually given credit for. His "Salut, demeure" is very beautiful with a strong top C. Cossa, Bible, and Greenspon are all terrific too as is Rudel's leadership. The abridged version of the opera is given here. I would love to have had heard Sills sing the "Il ne revient pas" aria, but it was not to be.All Faust lovers and fans of the singers should get this!

Years ago, I had the pleasure of hearing this trio in a couple of performances of Faust. This recording brought back many fond memories. Treigle was a force of nature in the theater, both vocally and dramatically. This performance allows you to enjoy his demonic interpretation. Molese was an solid tenor. Pleasant voice with ringing notes when needed. Sills singing matches Treigle and their duets will blow you away. Yes, Rudel has brisk tempi. You will keep returning to this Faust.

I'm not sure which performance you refer to, the performance of the artists on the recording or the performance of Opera Depot in its response to the order. If it is the performance on the recording, the sound was poor (presumably an amateur job) but the artists great: Sills and Treigle were at their best, which is considerable, and Molese excellent as both an actor and a singer. If you are asking about the order fulfillment, the delivery was very slow and the explanation (moving the business) should still have been more specific about the ultimate arrival date.

Good

Everything said about it was true!!!!!

a big surprise: one of the best Faust performances I have ever heard in very good sound. Sills sings wonderful, Treigle is terricic and Molease can also match them.

The balance is off to the extent that the voices are often drowned by the more forward orchestra. Of course it's a non-commercial recording, but much of the real draw of such amazing voices is lost. It sounds like an amazing performance, if we could only hear more. Treigle fares the best, due to the sheer size of his voice, and Molese seems to have a sizable instrument. I'm glad to have this, but my expectations were a bit dashed. Rudel brings much from the orchestra, even if his tempi are all on the brisk side.

Beautiful singing