Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

Feverish love at Opera Holland Park: a fine La traviata opens the 2018 season

If there were any doubts that it was soon to be curtains for Verdi’s titular, tubercular heroine then the tortured gasps of laboured, languishing breath which preceded Rodula Gaitanou’s new production of La traviata for Opera Holland Park would have swiftly served to dispel them.

OPERA TODAY ARCHIVES »

Reviews

Elizabeth Futral as Hanna Glawari [Photo by Dan Rest courtesy of the Lyric Opera of Chicago]
29 Jan 2010

Lyric Opera of Chicago’s The Merry Widow

Melodic and scenic gaiety predominates in Lyric Opera of Chicago’s new production of Franz Lehár’s The Merry Widow.

Franz Lehár: The Merry Widow

Hanna Glawari: Elizabeth Futral; Danilo: Roger Honeywell; Valencienne: Andriana Chuchman; Camille: Stephen Costello; Baron Zeta: Dale Travis; Njegus: Jeff Dumas; Raoul St. Brioche: David Portillo; Viscount Cascada: Paul La Rosa; Pritchitch: Larry Adams; Kromov: James Rank; Bogdanovich: Bernie Yvon; Sylviane: Mary Ernster; Praskovia: Ann McMann; Olga: Susan Moniz. Conductor: Emmanuel Villaume. Director: Gary Griffin. Set Designer: Daniel Ostling. Costume Designer: Mara Blumenfeld. Lighting Designer: Christine Binder. Projection Designer: John Boesche. Chorus Master: Donald Nally. Choreographer: Daniel Pelzig. Ballet Mistress: August Tye. Wigmaster and Makeup Designer: Richard Jarvie.

Above: Elizabeth Futral as Hanna Glawari

All photos by Dan Rest courtesy of the Lyric Opera of Chicago

 

Paris in the opening years of the twentieth century is evoked in shifting venues from the Petrovenian embassy in Act I to the widow’s mansion and to Maxim’s in Acts II and III. The widow Hannah Glawari is sung by Elizabeth Futral in a performance ranging from touching sentimentality to lyrical purity and joyous sparkle in duets and ensembles. Her suitor from the past, Count Danilo Danilovich, as portrayed by Roger Honeywell moves convincingly from the pleasure-seeking rake to the man who still loves Hannah despite circumstances that interrupted their earlier courtship. A secondary romantic involvement is pursued between the married Valencienne and her admirer Camille de Rosillon, sung and acted plaintively in this production by Andriana Chuchman and Stephen Costello respectively. A large supporting cast is drawn into the comedic and wistful resolution of Hannah’s fortunes and amorous interests.

Futral2_MW_Chicago.pngPaul La Rosa, Elizabeth Futral and David Portillo

After a spirited orchestral introduction led by conductor Emannuel Villaume the first act of Lehár’s operetta introduces both celebration and conflict. This scene, as staged in Lyric Opera’s new production, communicates an appropriate amount of business, replete with arrivals, wooing, and worries over the homeland. Baron Zeta broaches this latter topic by accepting congratulations in behalf of the Petrovenian head of state while at once lamenting the precarious financial issues of the homeland. In his portrayal of Zeta, Dale Travis assumes a Central European accent and delivers an effective mix of enthusiasm and anguish. After summarizing the economic concerns, he insists that the recently widowed Hanna Glawari must remarry a Petrovenian citizen so that her inheritance might remain in the domestic treasury. During Zeta’s distracted narration of such details his wife Valencienne is subjected to the repeated attentions of the nobleman Camille de Rosillon. Although obviously flattered by these advances, Valencienne expresses her irritation when Camille writes “I love you” on her fan. In the duet “Listen please” Valencienne reminds him of her intentions to remain faithful to her husband Zeta and suggests that he marry another. Chuchman and Costello fulfill the individual roles of Valencienne and Camille admirably yet their vocal and dramatic talents seem transformed to a still higher level when they sing together. In this first duet they epitomize the conflicts of love and duty as their voices blend to communicate a convincing emotional fervor.

Costello_Chuchman_MW_Chicago.pngStephen Costello and Andriana Chuchman

Once the young couple leaves, the widow Hanna Glawari appears, trying to deflect the repeated attempts at adulation from men who wish to curry her favor. In her first aria (“Gentlemen, how kind”) Ms. Futral strikes a balance between a woman who demonstrates a vocally receptive sense of being flattered and the realistic widow who suspects any suitor of opportunism. As Hanna, for the present, leaves and repeated calls for Danilo’s needed presence are sounded (“Affluent widows double in charm”), the bachelor enters a near-empty stage. While staggering in apparent inebriation from the top of a staircase Roger Honeywell portrays Danilo not so much as dissolute but rather as one avoiding the confrontation of daily responsibility by losing himself in the swirl of activity at Maxim’s. In his aria “Oh, Fatherland” Honeywell muses with wistfulness on the duties of a minor nobleman that he fulfills for his country, but activities of the evening cause a suspension of the sense of homeland. When Hanna reenters she finds Danilo, in utter exhaustion, asleep on a divan. Ms Futral attempts to mask the surprise of Hanna, just as Mr. Honeywell’s Danilo can only appear confused while he recovers his composure. A renewed attraction between the principals, interrupted by the realities of an earlier, societal marriage, is evident for a moment before distance again sets in. Danilo insists that he will never express love for Hanna, while others vie for a dance with the widow. When she suggests such a dance with Danilo, he offers it to any other man for 10000 francs. Hanna is incensed and Danilo seems, at first, resolved in his sullenness. Yet Honeywell shows his character softening, and both agree finally to the proposed dance. As the act concludes Hanna and Danilo, as portrayed here, seem temporarily reconciled, if only for the evening, in a dance and song that bears a glimmer of more for the future.

In Act II of the operetta the action takes place in the garden of the widow’s Parisian home. Hungarian dances are performed first to celebrate the ruler’s natal day: in Lyric Opera’s production both colorful costumes and skillful choreography assure a lively introduction to the celebration. As an extension of these festivities the widow sings the traditional Hungarian song of the vilja. Ms. Futral performed the justly famous song of the wood-sprite, or vilja, with moving emotional force. As she described the feelings of the huntsman who becomes enamored of the sprite in the forest, Ms. Futral’s character itself seemed to bloom, so that buried emotions could again be kindled. A further encounter with Danilo, who arrives to participate in the widow’s reception, contributes to renewed confusion and bruised emotions, with both characters stomping away in opposite directions. The scene is then left to the naïve pair Valencienne and Camille, who both avail themselves of the solitude to discuss openly the state of their love. Despite the protestations of Valencienne, Camille serenades her with the aria “Just as the rosebud blossoms in the light of May.” Mr. Costello flourished here as an ardent lover in the solo aria in which his vocal modulations and use of legato were especially well received. The two withdraw into the garden’s pavilion in time for Valencienne’s husband Zeta to return and peer curiously into the enclosure. Although he at first believes that he sees his wife with Camille, Hanna changes places with Valencienne in order to save her reputation. The widow and Camille emerge from the pavilion declaring their intention to marry, an announcement which confuses Zeta and irritates even further Danilo. Mr. Honeywell gave convincing expression to his pique in the aria “Fall in love often,” as he rushed off at the close of the act to console himself in diversion at Maxim’s.

Futral3_MW_Chicago.pngRoger Honeywell and Elizabeth Futral

It is indeed here at Maxim’s that the numerous conflicts and emotional tensions are ultimately settled during Act III of the operetta. After the mood is set by an orchestral introduction including strains from the “Merry Widow Waltz,” we see the various girls of the club along with Valencienne dancing to entertain Danilo. Further communication from the homeland prompts the widow to admit that she never intended marriage to Camille and that her motives consisted in the protection of another woman’s honor. At this Danilo admits his love for Hanna, and they sing the duet “Strings are sighing.” Futral and Honeywell express their bond, leading eventually to the consent of marriage, in touching unison as they conclude aptly on the lines “We’ve gone soaring to the heights” and “It’s you I love alone!” Only the breach between Valencienne and Zeta must be repaired. When the jealous husband discovers the fan on which Camille had written of his love, Valencienne convinces Zeta to read the declaration on the reverse: “To my loving husband from his adoring wife.” All is now well in the emotional world of The Merry Widow, as depicted in Lyric Opera of Chicago’s delightfully musical production.

Salvatore Calomino

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):