Mephistopheles is the spirit who denies, critics on the side of the angels, must affirm. So: the opera itself (in case there are doubters) repays acquaintance. A richly creative score, it contains much of the life-blood—libretto as well as music—of its remarkable inventor. Thus reassured, the purchaser casts an eye over the cast-lists: a Domingo for a Pavarotti (for Fabritiis on Decca) as Faust, a Caballe for a Freni as Margherita. Decca then reclaim Caballe, introducing her as Helen to confront the lesser-known Josella Ligi, who still does well enough apart from some squally high notes. As Old Nick himself Decca have the relatively youthful Nicolai Ghiaurov, whose opulent voice and commanding manner EMI's Norman Treigle cannot match. To set against that is critical affirmation number two: of the two conductors it's Rudel every time. Decca's Oliviero de Fabritiis approaches the Prologue-in-Heaven like a Victorian vicar opening his Paradise Lost. Rudel has a much more accurate appreciation of the scenario. At this moment in timelessness the Devil is about to fill the popular satire-slot in the Command Performance while the falangi celesti munch rum truffles and indulge themselves in succulent chromaticism.
The Decca recording is roughly ten years more modern and so that bit brighter and clearer, but I wouldn't let that determine the issue. Nor should the casting of the protagonist: Treigle hasn't the character in his voice but the performance is a worthy memento of an artist whose singing of the role was more acceptable than his showing-off on stage, and who may be otherwise unrepresented in one's collection. Caballe sings much of her music exquisitely and her voice blends with Domingo's to make magic in the ''Lontano'' duet. What I imagine will settle the matter for most people is that Decca and Fabritiis between them take three CDs over it, while EMI manage perfectly well on two.'