By Reviewed by Barney Zwartz
Opera Australia
May 16
MORE than most operettas, Franz Lehar's lushly romantic Merry Widow needs that indefinable magic if it is to sweep us away. When it was there on Wednesday - in the famous Vilja aria or the men's ensemble Cherchez La Femme, for example - the performance took wing and soared. Alas, it was sometimes prosaic, though always polished, minus that Magyar spark.
Opera Australia's lavish costumes for The Merry Widow contrasted with a meagre set.Credit: John Woudstra
David Hobson, an absolute master in this repertoire, was curiously cautious as Count Danilo, as though he were too concerned about the choreography. But in general the strong cast sang characterfully and well.
Some contradictions were surprising: lavish and lovely costumes, but modest and meagre set; the second pair of lovers (soprano Nicole Car and tenor Henry Choo, in good form) divided their time between ardent passion and high farce; while the widow herself, Amelia Farrugia, was a northern English bogan before the interval, and the subtle, sophisticated woman who manipulates the happy ending after it. Her best moments were also the production's best, especially the Vilja with ravishing tone and effortless top notes. Veteran John Bolton-Wood was, as always, professional as the bombastic ambassador.
In this production the singers were miked, a decision with pros and cons, one of the latter being an occasionally awkward balance with the orchestra. I found the extra volume a little over-powering, but those not used to opera will find the clarity a blessing.
Conductor Brian Castles-Onion kept the momentum admirably. If he did not always find an authentic Hungarian lilt, he showed impeccable taste and avoided the saccharine sentimentality that so quickly spoils the work.
I found the English translation highly successful. In the end, it is another strongly professional Opera Australia production, with a great deal to enjoy.