First introduced in 2004, David McVicar’s opulent production of Gounod’s Faust features themes of blasphemy, cross-dressing, and zombie ballerinas, captivating audiences at Covent Garden for over two decades through multiple revivals. This presentation has endured beyond Antonio Pappano’s time as music director, who originally conducted during its debut. The striking sets by Charles Edwards and the extravagant Second Empire costumes by Brigitte Reiffenstuel reflect a style that now seems almost extravagant.

Whether McVicar truly captures the essence of Faust might be secondary. His direction shifts between the realms of religious devotion and theatrical indulgence, illustrating Faust’s inner turmoil amid a world governed by hypocritical extravagance, echoed in the artifice of showbiz and the Catholicism prevalent in Gounod’s work. The Walpurgis Night scene, a hilarious parody of Act II of Giselle originally choreographed by Michael Keegan-Dolan, continues to provide a delightfully wicked experience.

However, this lengthy theatrical experience demands abundant theatricality from the cast, which wasn’t fully realized on opening night. Maurizio Benini returns to conduct Faust for a third series, albeit his approach lacked a unique connection to the score’s dynamic energy, focusing instead on grand ensembles rather than advancing the narrative. There were also moments of unsteady performance from some solo instrumentalists.

Since the initial casting announcement for this revival, three performers have changed, introducing new faces who have yet to fully inhabit the stage, and under revival director Peter Relton, the coordination seemed somewhat lacking. Stefan Pop’s portrayal of Faust delivered a commendable rendition of his emotive aria, though he and Carolina López Moreno as Marguerite often appeared disconnected in their performance. In contrast, Roberto Alagna’s energetic portrayal back in 2004 was memorable; Pop, in his formal wear, resembled a character from a children’s show rather than the dramatic figure he was meant to portray. López Moreno’s rendition of Marguerite included some beautifully soft moments, although her intensity varied during more climactic scenes.

Every rendition of Faust requires an impressive devil character. Adam Palka, stepping in for Erwin Schrott as Méphistophélès, showcased an appealing voice but fell short of the demonic depth expected in his lower register. Palka lacked the flamboyant edge to fulfill McVicar’s vision of a devil that balances being a smooth entertainer with embodying pure evil. Ultimately, he was overshadowed by Boris Pinkhasovich’s striking performance as Valentin. ★★★☆☆ 225min To June 10, rbo.org.uk