Scottish Opera brings John Savournin’s new manufacturing of Lehár’s operetta to Opera Holland Park

Lehár: The Merry Widow – William Morgan, Rhian Lois – Scottish Opera (Photograph: Mihaela Bodlovic)

The brand new plot required relatively an excessive amount of dialogue rationalization within the first act, and left us open to a plethora of smaller Mafia characters who had been supposed to be humorous. What we had although, had been relatively too many dangerous Italian-American accents and much an excessive amount of performing that was self-consciously humorous (a fault within the latest Glyndebourne manufacturing of the operetta). Matthew Kellett, Christopher Nairne and Connor James Smith labored arduous as Nicky Negus, Carmelo Cascada and Sam Briochi, aided and abetted by Francis Church as Pritischitsch and Matthew Siveter as Kromow, however a bit of goes a good distance and we quickly bored with them. Henry Waddington as Don Zeta was a masterclass in be humorous but not go too far. Maybe the venue was at fault and that the manufacturing might need labored with the lighter contact wanted in a smaller, simpler area.

On condition that the operetta consists of some of the well-known operetta waltzes, it appeared perverse to decide on a setting the place the necessity to waltz was eliminated. Additionally, takis’ extremely imaginative set left little area for the refrain to really waltz. There was dancing and the chorenes labored very arduous, however the social gathering in Act One was notable for an actual lack of dancing aside from group shimmying. Frankly, it was a aid when on the finish of Act One and the tip of Act Three, Paula Sides and Alex Otterburn did really waltz collectively.

I’ve to admit that I discovered the Mafia component in David Eaton’s lyrics relatively jarring however then I’ve all the time been relatively keen on Christopher Hassall’s lyrics and regardless of the soprano sings, in my head I all the time hear ‘Vilja, oh Vilja, oh nymph of enjoyment’. 

Lehár: The Merry Widow – Paula Sides in ‘Vilja’ – Scottish Opera (Photograph: Mihaela Bodlovic)

After the relatively hectic, and considerably overlong first act set in Don Zeta’s New York residence, the remaining two acts, set on Hanna’s Sicilian property and in Maxim’s, appeared to circulation relatively higher. Maybe this was as a result of there was much less dialogue and the comedian enterprise took second place to the plot. All through the night, the staging of the music numbers was masterly. I used to be notably taken with the very efficient male soloists’ quantity about ladies, which was musical theatre at its greatest. 

All through the mayhem, Paula Sides and Alex Otterburn, as Hanna and Danilo, appeared to create their very own particular area on the stage. And this was one more reason why the second half labored higher than the primary, the main focus was extra on the main couple. As Hanna on this model, Sides had the distinct benefit within the accent stakes as she was born in Tennessee. She made a warmly engaging Hanna, effortlessly holding the stage in Vilja and bringing out the Beatrice and Benedict side of her dialogue with Otterburn. The staging didn’t fairly remedy the issue of Hanna’s first entry, and I think the venue didn’t assist in order that Sides’ soprano didn’t soar over the male refrain in the way in which that it ought to. However then the manufacturing did require her to emerge from a raise relatively than descend a glamorous staircase.

Alex Otterburn made a beautiful, partaking Danilo and you possibly can see why he had a fame with the ladies. Otterburn was, maybe, a bit of too nice at first, you didn’t fairly consider him because the ladykiller that the plot requires. However Otterburn sparred with Sides in deft trend and introduced an actual sense of emotion to the character’s arc, culminating in his nice solo on the finish of Act Two the place he lastly let his emotional guards down. As a pairing Otterburn and Sides not solely had been plausible however held our consideration, in order that the journey of those two characters meant one thing. Sure, the music is sentimental, however on the very finish the place the operetta ended with Otterburn and Sides dancing collectively alone on the forestage, the 2 created a little bit of actual magic.

Lehár: The Merry Widow – Rhian Lois – Scottish Opera (Photograph: Mihaela Bodlovic)

Rhian Lois was a severe, relatively gutsy Valentina (the identify Valencienne acquired on this manufacturing), although fortunately Lois was not too weighed down by the have to be a ‘New York broad’ and while she was strong-minded, her Valentina was totally severe in her love affair and her wish to be a ‘respectable spouse’. In Act Three, Lois confirmed a completely completely different aspect when she joined the cabaret quantity on the opening, dancing with a will with the opposite showgirls. As her love curiosity, William Morgan was relatively hampered by his cod-French accent and the relatively over-cooked sense of Camille’s character. This was a case the place much less would have been extra, but Morgan and Lois did discover some actual connection and also you wished the connection had been introduced extra naturally.

Henry Waddington was an enticing Zeta, effortlessly in cost, humorous but not over accomplished. Round him zipped numerous characters re-thought as his Mafia cohorts, Matthew Kellet as Nicky Negus, Christopher Nairne as Carmelo Cascada, Connor James Smith as Sam Briochi, plus Francis Church as Pritischitsch and Matthew Siveter. No matter I considered the ensuing characters, regardless of how annoying their stage presence, I have to credit score the performers for the way in which they entered into issues with a will.

The benefit of the setting was that their women-folk had been an ideal deal extra feisty than typical and it was clearly that Ellie Neate and Rosie Lavery as Sylvia and Paulina had been having nice enjoyable, while Amy J Payne created the wondrous character of Olga out of just about nothing.

Lehár: The Merry Widow – Scottish Opera (Photograph: Mihaela Bodlovic)

The all-singing, all-dancing refrain had been terrific, getting into into the entire staging with a will and mixing musicality with actual dancing, and the ladies taking part in the showgirls in Act Three undoubtedly deserved a point out within the programme. The programme credited Derek Clark with the orchestral discount however we had a sizeable orchestra all the identical with double woodwind and brass. Their contribution, underneath Stuart Stratford’s deft route was undoubtedly a spotlight, and the orchestral moments within the rating introduced actual character to the auditorium.

There was a lot that was proper about this staging, that it was a disgrace that selections concerning the setting and the dramaturgy relatively mitigated towards making this night full enjoyment. Such sympathy and arduous work had gone into creating the staging that it was a disgrace that pointless dramaturgy and foolish accents mitigated towards it.