Granted,theplot'snotuptomuch.Cursedbyherbrother,thevirginalMargueriteisleftpregnant,miserable,madandseeminglybeyondredemptionbytheageingFaustwho'smadeadevilishpacttoexchangehissoulforyouth.All'swellthatendswellthough,becausebycloseofplayMargueritehasbeenborneuptoheavenbyachorusofangels.Butwhenhasanimplausiblestoryeverbeenaproblemforanopera?BecausewhatmattersaboutGounod's'Faust'(andwhathaskeptitintherepertoireforover150years)isasuccessionofshowstoppers,includingsolonumbers(thefamousJewelSongamongthem),ensemblesandchoruses.What'Faust'needsisastellarcast,whichiswhatwegetinthisrevivalofDavidMcVicar'sRoyalOperaHouseproductionbroadcastlivefromCoventGarden.It'sledbyAngelaGheorghiuasMargueritewho'sjoinedbyatriooffetchingmen.TheyoungItaliantenorVittorioGrigoloplaysthevileseducerofthetitlerole,thecharismaticbassRenéPapeisthediabolicalMéphistophélèswhomakesFaustanofferhecan'trefuse,andsmoulderingRussianbaritoneDmitriHvorostovskyisValentin,thebrotherMargueritecouldlivewithout.