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| Danielle de Niese in "The Merry Widow" Photo: Jeff Busby |
Director and Choreographer: Graeme Murphy – Associate Director/Choreographer: Janet Vernon – Conductor: Vanessa Scammell -English translation by Justin Fleming - Set Designer: Michael Scott-Mitchell - Costumes designer: Jennifer Irwin - Lighting designer: Damien Cooper - Sound designer: Tony David Gray.
Joan
Sutherland Theatre, Sydney Opera House until 3rd February 2018
Reviewed by
Bill Stephens
There are
many reasons to celebrate this magnificent production of a wonderful old
warhorse which still manages to enchant more than 100 years after its first
performance. Not the least is the opportunity it affords to experience the
performances of Danielle de Niese and Alexander Lewis, two Australian singers
who are rapidly establishing themselves as rising stars on International
operatic stages. Together they are a
bewitching pair and provide the production with a stunning central focus.
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| Alexander Lewis (Danilo) and Daneille de Niese (Hanna Glavari) Photo: Jeff Busby |
Ideally cast
as the wealthy young widow, Hanna Glavari, eager to re-fan the flames of a
former love affair, Danielle de Niese exudes star power. A convincing actress
with a dazzling smile, and lustrous, creamy soprano, she commands attention
from the moment she hits the stage. Jennifer Irwin has created a series of
sumptuous costumes for her, which she wears with flair, while Graeme Murphy’s
staging takes advantage of her dance skills to great effect.
Her Danilo,
Alexander Lewis, also is an excellent dancer, as well as a fine actor and
singer, and their superbly staged scenes together generate a captivating sexual
frisson and chemistry rarely seen on operatic stages.
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| Stacey Alleaume (Valencienne) and John Longmuir (Camille) Photo: Jeff Busby |
Stacey
Alleaume and John Longmuir are also beautifully paired, singing superbly and
playing the roles of “The Respectable Wife”, Valencienne, and her ardent
paramour, Camille, with complete conviction.
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| Richard Anderson (Kromov), Tom Hamilton (Pritschich), David Whitney (Mirko Zeta), Bradley Cooper (de St Brioche), Alexander Lewis (Danilo), Christopher Hillier (Bogdanovich), Luke Gabbedy (Cascada) PhotoL Jeff Busby |
The first
rate supporting cast includes Benjamin Rasheed (Njegus), Richard Anderson
(Kromov), Luke Gabbedy (Cascada), Tom Hamilton (Pritschich) Brad Cooper (de
St.Brioche) and Stuart Haycock, seamlessly replacing an indisposed Christopher
Hiller on opening night, as Bogdanovich, together with Agnes Sarkis (Olga
Kromov) and Celeste Lazarenko (Sylviane). All were obviously revelling in the
opportunities provided by Justin Fleming’s witty new libretto to create some delightfully
silly, blustering characterisations.
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| Danielle de Niese in "Vilja" Photo: Jeff Busby |
Graeme
Murphy’s carefully nuanced direction bristles with imaginative ideas, and his
staging of the various duets is masterly, as is his breathtaking treatment of
the second-act story-song, “Vilja” which climaxes with de Niese being held
aloft on a giant water-lily frond in a Monet-inspired setting.
His
typically idiosyncratic choreography for his twelve excellent dancers provides
the champagne sparkle for each scene, but he has also devised some inspired work
for his principals including an entertaining staging of “Women, Women, and
Women” and the dreamy “Merry Widow” waltz for Hanna and Danilo which climaxes
the show.
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| Danielle de Niese and company - Act 3 "The Merry Widow" Photo:Keith Saunders |
Then there’s
Michael Scott-Mitchell’s beautiful, soaring art-deco settings, imaginatively lit by
Damien Cooper, Jennifer Irwin’s gorgeous costumes, and the impeccable
performance of the Opera Australia orchestra conducted by Vanessa Scammell
which nails the authentic Viennese lilt
of Franz Lehar’s irresistible score. What more could you ask? This production is such a feast for the eyes,
the ears and the heart that it’s destined to become a treasured memory for
anyone lucky enough to experience it.
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| Danielle de Niese and dancers Photo: Jeff Busby |
This review also published in Australian Arts Review. www.artsreview.com.au
