Franz Lehar’s The Merry Widow is the latest offering from Opera Queensland. Set in the ballrooms of Paris the operetta features a score bursting with waltzs, tangoes and cancans, a script littered with quick wit and sharp dialogue and, of course, stunning, melodic singing performances.
The Balkan state of Pontevedro is facing financial ruin. Its best hope lies with the wealthy widow Hanna Glavari. If she marries a Pontevedrian and keeps the money in the country rather than marrying a Frenchman, Pontevedro may again prosper. Staff at the Pontevedrian Embassy in Paris hatch a plan to match Hanna with one of their own. But can Hanna be so easily manipulated, or is she in fact, cleverer than she has been given credit for.
As soon as the curtain opened at QPAC’s Lyric Theatre, the audience was immediately transported to 1920s Paris. Visual clues, rather than overt enunciation leaves the audience in no doubt as to the time and place. Set design, costumes and the performer’s manner have all been expertly executed to create a vibrant Gatsby-esque feeling, evoking a sense of raucous frivolity. Act II sees the action shift to Hanna’s house for another party, this time in the Pontevedrian style. Again, costume and set design take the audience on a journey, providing clues about Pontevedrian culture and customs.
Performances are strong throughout, with Natalie Christie Peluso in the title role and David Hobson acting as Count Danilo Danilovich, the object of Hanna’s affections. The pair complement each other well and their several duets are well executed and entertaining, as you would expect from two such accomplished performers. Katie Stenzel in the part of Valencienne is another stand out, as is her husband, Pontevedrian amabassodor Baron Mirko Zeta, played by Jason Barry Smith. This unlikely couple have a lovely chemistry that will make you believe they do truly love each other. Queensland Theatre regulars will recognise Hugh Parker in the role of Njegus. Parker delivers another strong performance here, and excels in the lively production. Of course, no opera would be complete without musical accompaniment. The orchestra is skilfully directed by the baton of Vanessa Scammell and the mutual respect between the performers on stage and in the pit is evident.
Opera novices need not fear The Merry Widow. There is some dialogue intermixed with the singing, making the story easy to follow. Helpfully, a screen above the stage displays the lyrics as the performers sing so you will not miss a word. While this is a useful aid, it can at times become distracting. The action on stage is much more interesting than words on a screen so I would urge you to read quickly and return your attention to the main event. Colourful and entertaining, this production is accessible and enjoyable. The Merry Widow is now showing at The Lyric Theatre, QPAC until June 30.
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