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Lehár, Die lustige Witwe: Soloists, Dancers from Finnish National Ballet, the Finnish National Opera Chorus and Orchestra, conductor Hannu Bister, Finnish National Opera, Helsinki 28.8.2008 (BK)
 
 Production:
 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 - Juha Riihimäki
 Cascada - Marko Puustinen
 St. Brioche -Jussi Miilunpalo
 Njegus - Matti Pasanen
 
Lehár's best known operetta seems to have become quite popular with major opera houses in recent years. Welsh National Opera produced it in 2005 (see review) and FNO launched this version last season to considerable acclaim. Both versions were billed  as 'traditional' settings designed to capture the  gaiety of belle époque Paris complete with rivers of champagne,  knockabout humour and the fundamentally essential good natured romance. In the case of WNO's version however, the directors killed most of the plot stone dead by drawing out a supposed parallel between Hanna Glawari and Richard Strauss's Marschallin, and by turning the whole performance into as gloomy a piece of realism as you might never wish to see in an operetta. The result was hardly une crêpe joyeuse :  mostly it was a cold Ash Wednesday pancake.
 
Happily, Finnish National Opera knows better. This production really is traditional with luxurious period costumes by Anna Kontek, a breezy approach to the music led by conductor Hannu Bister, splendid sets using FNO's revolving stage, some inspired ballet scenes and a decent cast of singers.

My colleague Göran Forsling reviewed much the same team at the second performance last year (review) and was slightly disappointed by it, especially by slow tempi around the opening scene and stiffness in the spoken dialogue - the production is sung and spoken in Finnish and has Swedish surtitles - although he attributed the slow start to nerves suffered by the second cast on their opening night.  This one was much better however, and to judge from the audience's enthusiastic reactions, the jokes and the fun of the plot line were delivered very well. As always at FNO, the chorus and orchestra were on good form and the ballet sequences were excellent.

GF remarked on Tove Åman’s ’elegant bearing’ which ’made her an attractive widow’ and this was equally true this year as her portrayal of  Hanna was again characterised by dignity and warmth. Vocally though, there was some unusual weakness in her singing which detracted a little from the overall effect. Jyrki Anttila’s Danilo  was a pleasant complement to his elegant Hanna however, making the transition from playboy to earnest lover with style and conviction. His voice is rich and pleasing, even in a role which is perhaps slightly lightweight compared to his usual repertoire.

Tina Vahevaara was a lighthearted and charming  Valencienne who made the most of the twists and turns of the plot, and seemed vocally well cast. Juha Riihimäki, as her de Rosillon, sounded slightly uncomfortable vocally, but acted the role well, successfully giving the impression of being a confused lover. The other roles were well sung and/or acted and the humour, especially from Matti Pasanen's Njegus,  was thoroughly appreciated by the audience. A special mention must go to the members of the ballet however, as the grisettes were one of the distinct highlights of the evening. Tirelessly cheerful,  they embodied the way an operetta should be performed, and fully deserved the appreciation shown by the audience.

The Merry Widow is being performed at FNO well into next year and will doubtless continue to be as successful then as it is now.

Bill Kenny


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