The Merry Widow

Published Wednesday 12 October 2005 at 13:55 by Jon Holliday

This new production of the much-loved operetta, now in its centenary year, gets away to a lacklustre start. What with a depressing set of the rundown Pontevedrian embassy, long stretches of Jeremy Sams’ arch dialogue - which cries out for cuts - and plodding French farcical goings-on, the omens appear gloomy for the Patrice Caurier/Moshe Leiser staging.

Fortunately the Viennese warmth and charm bubble through in Act II, backed by a lovely setting with gorgeous costumes, leading on to the riotous visit to the hedonistic Maxim’s. In this the chorus and dancers are at their vibrant best, while Michal Klauza conducts the lyrical account with the lightest of touches.

Lesley Garrett, who began her career with WNO, stunningly attired by Agostino Cavalca, projects a kittenish, rather jolly, Hanna, perhaps not grandly seductive enough, but her heartfelt Vilja provides moments of sheer nostalgic magic.

Combining well with Garrett, Jeffrey Black characterises the incorrigible Danilov as no dandy but a drunken rake. His undoubted masculine charm may lack suavity but this is more than compensated for by the sexual chemistry generated.

As the would-be lovers Valencienne and Camille, Ailish Tynan and Tracey Welborn are well matched, though too often somewhat underpowered. Donald Maxwell revels in the role of the blustering Baron Zeta, while Linda Ormiston provides a standout cameo as Praskowia, a heavyweight still keen in her pursuit of love. Geoffrey Dolton is quite bizarre as a loony Njegus, which may not be Lehar, but his cavortings certainly enliven the action.