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Faust, Alberta

Faust, Alberta is an operatic spectacle that offers a contemporary, metaphysical take on the Faustian myth. Its only protagonist is a Nameless Man, who finds himself in a remote shelter, by a lakeside, surrounded by frozen snowfields. He cannot remember who he us, nor where he is from. The only thing he can remember is that he is on the run with a girl whose name he has forgotten, and that they have been pursued by Mr M, an unforgiving relentless bounty hunter
who is after them, an unstoppable diabolical machine.
Confused by fragmented reminiscences, in a sequence of Nine Scenes, the Nameless Man tries to recompose his own memories and existence, seeking for his own identity, eventually recognising himself as the bearer of both the good and the evil.
Faust, Alberta draws from the dynamics of the Western,

re-elaborating them in an existential and musico-theatrical way. Aside an alternation of prose and verses, the libretto is interspersed
with cinematographic citations, which encompass both a cultivated and popular culture. The music, in a similar and complementary manner, articulates through musical metaphors, which establish the dramatic sound world within a quasi-recitative flow.


The premiere performance took place on the 3rd September 2018 at
Opera in the City Festival, held at Bridewell Theatre, London.

Duration: About one hour and fifteen minutes

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Selected Reviews

THE STAGE, September 2018 ★★★★

Imaginative scoring... Faust, Alberta grippingly portrays a man haunted by his past and by himself” (Yehuda Shapiro)

PLAYS TO SEE, September 2018 ★★★★★

this new work, the culmination of this year’s ‘Opera in the City’ Festival, is a notable success that will repay repeated listening and deserve further outings” (Tim Hochstrasser)

LONDON THEATRE 1, September 2018 ★★★★

a stand-alone parable of our times” (Paddy Briggs)

PLANET HUGILL, September 2018
a confident approach to the tricky task of structuring an hour-long work for a solo singer, as well as creating a striking and remarkably evocative score” (Robert Hugill)

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