Lyric Opera ups the quality meter with lavish 'Merry Widow'

By: PATRICIA MORRIS BUCKLEY - For the North County Times | Wednesday, October 11, 2006 12:13 PM PDT ∞

To do a proper production of Franz Lehar's operetta "The Merry Widow," a theater company needs large, lush sets, gorgeous costumes and, most important, amazing singers. Luckily, Lyric Opera San Diego has all these elements in place, and the result is just as magical as Lehar intended.

All these elements are required because the story is so slight that all these essentials are what give the operetta its depth and vibrancy.

Set at the turn of the 20th century and sung in English, "The Merry Widow" begins with a lavish ball at the Marsovian Embassy in Paris just as the Marsovian government is teetering on the edge of financial ruin. So the Marsovian Ambassador is secretly planning to entice a wealthy widow (Hanna) to marry one of his fellow countrymen so that her considerable assets can stay in the Marsovian bank. But the man the Ambassador chooses, Count Danilo, turns out to be Hanna's former suitor.

The look of the show is paramount, as each scene is a party populated by the richest and most upper-crust members of Parisian society. The intricate costumes (supplied by Malabar Limited in Toronto) are opulent and eye-pleasing. J. Sherwood Montgomery's sets are huge in scale, with just enough details to create a ballroom and garden (nicely lit by Matthew Novotny).

But where this production really shines is the incredible vocal quality of the cast. That doesn't just pertain to the leads, who are professional caliber. The chorus doesn't have a singer who isn't excellent. In fact, the choral numbers are every bit as exciting as the solos. In particular, the all-male chorus's version of "Women" is not only rich and full in sound, but a real crowd-pleaser as well (the chorus line kick at the end only adds to the fun).

In the title role, Lyric has brought in a heavy-hitter with Stacey Stofferahn Uthe, who has extensive opera experience around the country. Her voice has a deep, rich sound that almost doesn't need the orchestra behind it. While she is a little too mature for the part, she imbues the role with warmth and wit. Chris Thompson's Count isn't as convincing as a playboy, but his playful banter with Hanna shows excellent timing and his nuanced phrasing make his ballads complement the more rollicking numbers of the show.

Other standouts in the cast are Laura Portune as the Ambassador's wife, Chad A. Johnson as the man who tempts her and Andy Collins as Njegus, who provides excellent comic relief as well as a show-stopping number at the end.

The superb live orchestra, conducted by Leon Natker, also contributes to the lushness of this production. Montgomery directs this production in a fashion that stresses high-spirited comic timing and clear understanding of Lehar's intent.

While this operetta may not be everyone's cup of tea, it's sure to convert many who have never taken a sip before. And for operetta fans, it may be one of the best brewed in San Diego for a long, long time.

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