Opera Australia makes a Merry start to its 2021 season

Opera Australia’s sparkling update of Franz Lehar’s The Merry Widow banishes lockdown miseries while giving an old favourite a refreshing relevance.

Julie Lea Goodwin stars in Opera Australia's production of Lehar's The Merry Widow. Picture: Prudence Upton

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Nostalgia ain’t what it used to be, as American novelist Peter De Vries wittily observed, but it flourishes afresh at the Opera House this month.

Director Graeme Murphy’s sparkling update of Franz Lehar’s romantic confection achieves the remarkable feat of banishing the lockdown miseries while giving an old favourite a refreshing and often witty relevance.

This success was due in no small part to the casting.

Julie Lea Goodwin made a dynamic Hanna Glavari, the widow whose millions attract suitors in 1920s Paris, where she rediscovers a lost love.

Her rich soprano, so full of colour and expression, was a joy to hear, especially with such clear phrasing throughout.

She sang the part, she danced the part and she looked the part in this, Opera Australia’s first step back from the long, weary winter of covid.

TALENT

Alexander Lewis, as Hanna’s dissolute former lover, Danilo Danilovich, demonstrated an impressive tenor of rare flexibility; soft, almost delicate one minute, rising to a stirring conclusion the next.

Talent must be in the blood: his father is baritone Michael Lewis and his mother is mezzosoprano Patricia Price.

In this work, it is Danilo’s task to win Hanna to save the impoverished principality of Pontevedro from losing her millions if she marries an outsider.

The supporting cast made the most of the opportunity.

Australian-Mauritian performer Stacey Alleaume brought an impressive soprano and playful warmth to the role of Valenciennes, wayward wife of Pontevedro’s ambassador.

David Whitney performed sympathetically and with dignity as the husband blind to her burgeoning affair.

There’s plenty of dancing in Graeme Murphy’s production of The Merry Widow. Picture: Prudence Upton

As you might expect from a Graeme Murphy production, the work includes highly spirited dancing, often with the main characters joining in or weaving delicately through the throng.

Murphy and choreographer Shane Placentino deserve credit for making this approach work so well.

The score, sung in English, reflects Lehar’s music at its most lyrical, with Vilja, You’ll Find Me at Maxim’s and the Merry Widow Waltz at the top of the list.

Jennifer Irwin’s costuming was extravagantly colourful and Michael Scott-Mitchell’s sets were striking and effective.

Rousing stuff — and what an exuberant start to the season.

Footnote: Face masks are compulsory inside in the foyer and during performances. Patrons must also check in via QR code on arrival.

DETAILS

● OPERA: The Merry Widow

● STARS: Julie Lea Goodwin, Alexander Lewis, David Whitney, Stacey Alleaume

● AT: Sydney Opera House

● UNTIL: January 16

● BOOKINGS: www.sydneyoperahouse.com, tel [phone]