Review: The Merry Widow

NCH, Dublin

Is Franz Lehár's 1905 operetta The Merry Widow a timeless classic with unending potential to win new friends?

Winning new friends will always involve obstacles – in these times, in this city – among which, those facing Lyric Opera include a modest budget and a concert hall substituting for an opera house. Thus constrained, the sets and lighting of Lyric director/designer Vivian Coates are notably minimalist, although perfectly adequate for anyone already familiar with the piece. The absence of an orchestral pit creates balance issues that are not always consistently resolved by the amplification of voices. I tried to imagine myself experiencing the work for the first time and wondered about the likelihood of becoming a new friend.

On the other hand, what of existing friends of The Merry Widow? On opening night they seemed present in strength, their age-profile dominating the audience. They are from a fading generation that values this music because they can fondly remember its one-time popularity, and they (literally) hummed along.

I'm guessing they had no difficulty seeing past Lyric's obstacles and constraints as their long acquaintance with the operetta was warmly revived by strong leads. For the central pairing, clear-voiced, Tipperary-born soprano Emma Walsh was delightful and, when called upon, vulnerable in the title role, while her love-interest Danilo was played with great charm and energy by Canadian-American tenor Philippe Castagner.

Walsh was just one of nine singers receiving Lyric's customary support for young Irish artists. Of these there must be special mention of soprano Rachel Croash who impresses at every turn and who now, busy and conflicted as Valencienne, adds dancing the can-can to her repertoire.

Indeed, in the spirited choreography of Ballet Ireland's Stephen Brennan, the dancing set-pieces - ball scenes, folk dances and the can-can - are all highlights, particularly those involving dancers from Irish National Youth Ballet. Conductor Aidan Faughey unobtrusively maintains the score's inherent lightness and humour.

And it is, of course, a humorous piece, and in this regard the bar is set high by the camp comic timing, gesture and delivery of Tony Finnegan as Baron Zeta and Jimmy Dixon as Njegus, the embassy secretary.

Ends May 19th