http://www.heraldsun.com.au/lifestyle/melbourne/the-merry-widow-finds-new-festivity/news-story/e72bad969ac99f7979b0099cd99aa27d
Published online at Herald Sun on 16th November and in print 17th November, 2017.
On this especially festive-like evening when the country voted #YES Opera Australia’s new production of Franz Lehár’s effervescent 1905 operetta, The Merry Widow, seemed the perfect compliment to open the spring season.
Directed and choreographed with endless razzmatazz by Graeme Murphy and moved a smidgen ahead to the 1920s, it’s a glitzy Art Deco spectacle that frames the story of rags-to-riches young widow, Hanna Glawari. Michael Scott-Mitchell’s lavish sets and Jennifer Irwin’s haute couture fashions are, at the very least, testament to the remarkable artisans behind the scenes.
Hanna’s millions are the fictitious Grand Duchy of Pontevedro’s only hope of escape from bankruptcy but she’s kicking up her heels in Paris to a chorus of swooning hopefuls. Will former lover Danilo, living it up his own way at Maxim’s, pluck up the courage to say “I love you” and overcome the pride that keeps him from marrying Hanna for her money? Personalities might be bruised but tragedy is avoided.
A large cast and intricate intrigues keep the plot afloat despite the cross-section of messy accents and high melodrama. Justin Fleming’s new English translation is interpreted with bawdiness over the scandalous on a canvas more brash New York than elegant Paris. It’s fun but the innuendos begin to tire and the razzle-dazzle often overwhelms character sculpting.
We also no longer have the great Joan Sutherland on hand to sing her Hanna and the nostalgic ‘Pontevedrian’ folk song Vilja but, as a world-class opera company, why the patchily balanced miking? Internationally acclaimed soprano Danielle de Niese’s much-anticipated return to Melbourne was highly compromised, taking the spotlight more for her vivacious dancing, from waltz to cancan, than hearing her gorgeously smooth and luminous voice. Alexander Lewis, as the vacillating Danilo, pairs splendidly with de Niese, his golden tone put to superb use at the top notes. Soaring in the subplot, rich tenor John Longmuir is the big standout as lovestruck Camille among voices that generally sat below the company’s usual excellent standards on opening night.
Orchestra Victoria impressed under Vanessa Scammell’s persuasive conducting and, #YES, the stage celebrated at curtain call.
Opera Australia
State Theatre, Arts Centre Melbourne
Until 25th November
3 -stars
Production Photos: Jeff Busby
Published online at Herald Sun on 16th November and in print 17th November, 2017.
On this especially festive-like evening when the country voted #YES Opera Australia’s new production of Franz Lehár’s effervescent 1905 operetta, The Merry Widow, seemed the perfect compliment to open the spring season.
 |
| Danielle de Niese as Hanna in Opera Australia's The Merry Widow |
Hanna’s millions are the fictitious Grand Duchy of Pontevedro’s only hope of escape from bankruptcy but she’s kicking up her heels in Paris to a chorus of swooning hopefuls. Will former lover Danilo, living it up his own way at Maxim’s, pluck up the courage to say “I love you” and overcome the pride that keeps him from marrying Hanna for her money? Personalities might be bruised but tragedy is avoided.
A large cast and intricate intrigues keep the plot afloat despite the cross-section of messy accents and high melodrama. Justin Fleming’s new English translation is interpreted with bawdiness over the scandalous on a canvas more brash New York than elegant Paris. It’s fun but the innuendos begin to tire and the razzle-dazzle often overwhelms character sculpting.
 |
| Danielle de Niese as Hanna with the grizettes in The Merry Widow |
Orchestra Victoria impressed under Vanessa Scammell’s persuasive conducting and, #YES, the stage celebrated at curtain call.
Opera Australia
State Theatre, Arts Centre Melbourne
Until 25th November
3 -stars
Production Photos: Jeff Busby
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