Franz Lehár, Die lustige Witwe: at the Finnish National Opera, Helsinki 6.5.2008 (GF)

Directed by Jussi Tapola
Sets and Costumes by Anna Kontek
Choreography by Juhani W. Rytkölä
Lighting design by Olli-Pekka Koivunen

Cast:
Baron Mirko Zeta -Jukka Romu
Valencienne -Tina Vahevaara
Count Danilo Danilovitš -Jyrki Anttila
Hanna Glavari -Tove Åman
Camille de Rosillon - Ilkka Hämäläinen
Cascada - Marko Puustinen
St. Brioche -Jussi Miilunpalo
and several others

Finnish National Opera Chorus and Orchestra/Hannu Bister

The Finnish National Opera haven’t played operetta since the new opera house opened so it was high time for a revival of this genre; and what better work could there be to choose than Die lustige Witwe? It is well constructed with a libretto that is among the best and the music is consistently inspired and inspirational. The whole score oozes with life and esprit. Anna Kontek’s sets and costumes are lavish in luxurious turn-of-the-last-century style and the revolving stage is utilized to good effect. The visual effect is further enhanced through the striking ballet scenes – traditional by all means but entertaining none the less. So an unqualified success?

Not quite, I’m afraid. This was only the second performance and the premiere last Saturday was with a different cast and conductor, so in effect this was another premiere and everybody knows what first night nerves can produce. There was something stiff and stilted about the opening, not helped by some hopelessly slow tempos, especially frustrating in the opening ensemble, which brought about a feeling that the contents of the champagne glasses was stale beer rather than sparkling bubbly. The experienced Hannu Bister soon found the right Viennese lilt, however, and the whole performance gradually developed into nice party atmosphere but some of the stiffness prevailed and the timing of the spoken dialogue wasn’t the best. It felt long-winded, as if they were still in the rehearsal stage. Still there was a lot of amusing wittiness in the dialogue and the audience was in high spirits during the performance. Sung and spoken in Finnish with Finnish and Swedish surtitles this production is of course mainly aimed at Scandinavian visitors but the general high standards of playing and singing at the Finnish National Opera still guarantees musical benefit for non-Scandinavians. The chorus and orchestra were uniformly in good shape and the ballet excellent.

Tove Åman and Jyrki Anttila as Hanna and Danilo

 

The leading soloists were more variable. Tove Åman’s bright soprano and elegant bearing made her an attractive widow and the Vilja song was beautifully vocalized. Jyrki Anttila’s Danilo initially suffered from the stiffness I have already mentioned. After his first entrance he was able to relax more, however, and it was good to hear a tenor in the role, which was Lehár’s intention. Surprisingly, though, he took the lower options a couple of times, where his brilliant tenor really should have given an extra thrill an octave higher.

The secondary couple was, unfortunately, also secondary vocally. Tina Vahevaara was undoubtedly a cute and lively Valencienne but her singing was almost parodic. Ilkka Hämäläinen had a strong voice but lacked true lyricism. He was at his best in the second act Wie eine Rosenknospe. The many minor parts were professionally done though I have seen funnier Njeguses. All in all an entertaining evening but without real exuberance.

Göran Forsling

Pictures © Stefan Bremer

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