The Merry Widow
Franz Lehár
(1905)
New production

Opera North’s first production in 20 years of Léhar’s masterpiece, The Merry Widow, offers a beautiful, lavish score and the spirited dance provides an uplifting visual feast. Parisian sensuality and Viennese sophistication combine in this, the most popular of 20th Century operettas, in which a beautiful and wealthy widow ‘deliberates’ over taking a second husband.

The crème de la crème cast includes award-winning soprano, Stephanie Corley, singing the formidable role of Hanna Glawari, Amy Freston (Despina, Così fan tutte, 2009) as Valencienne, young tenor and BBC New Generation artist, Allan Clayton (Ferrando, Così fan tutte, 2009) will sing Camille de Rosillon and baritone, William Dazeley (Rodrigo, Don Carlos, 2009) will sing Danilo.

The cherry on the top is the stellar creative combination of director, Giles Havergal (Barber of Seville 2004), conductor, Wyn Davies (Madama Butterfly 2007, Let ’Em Eat Cake 09) and choreography by Stuart Hopps.

Sung in English
Lasts approximately 2 hours 30 minutes
A co-production with Opera Australia

 

Stephanie Corley, Hanna Galwari

Why should people come and see The Merry Widow?
People should come to see it because it’s one of the best and most popular operettas; a fantastically fun and engaging piece about human nature. It's the oldest story in the book really, a bit like Beatrice and Benedict or even Grease, with witty and relatable characters. The music and the whole world created through the unravelling action is intoxicating, sometimes frustrating but always very humorous and heartfelt. I hope that I will be able to do the character of Hanna justice but I have no doubt that all the wonderfully talented people involved will be committed to making this the best show possible. It will be a lot of fun!

Can you tell us a bit more about the character of Hanna Glawari, and her journey through the opera?
I think that Hanna is bright, confident, challenging, honest and earthy, and like Danilo has an infectious and attractive personality which is fun to be around but rarely straightforward. I think that Hanna's journey is a cathartic road addressing past memories, hurt and confusion. She is looking for mutual forgiveness and trust from Danilo for their past actions but she has to go through sparing matches with him to discover whether it's her or the cash he's after. In fact both characters are trying to make sense of their own feelings, accept the other for who they are and celebrate the simple truth that "All that counts is I love you and you love me".
 
What are you most looking forward to about appearing in this production?
I am really excited about doing a traditional production with all the stage craft that that entails, including the dancing and general design. As I love the character of Hanna and the chemistry that is created between her and Danilo, I am especially looking forward to working on the production with William Dazeley (Danilo) and getting that special electricity between the characters on stage. I am also looking forward to working with the rest of the fantastic cast and of course the creative team of Wyn (conductor), Giles (director), Stuart (choreographer) and Leslie (set and costume designer). It is also very exciting to be doing a new production and a new translation by Kit Hasketh-Harvey.  
 
 How are you preparing for the dancing demands of the production?
I have always enjoyed dancing, but mainly at discos. Also I had contemporary dance lessons as a kid. So I have been anticipating the dance demands of this production with trepidation but also as an exciting challenge! I was lucky enough to meet a wonderful dance and movement specialist through my time at the National Opera Studio called Mandy Demetriou who is not only an informed, passionate and inspiring teacher but endlessly patient and never anything but positive. We have had a couple of sessions waltzing around and learning steps, terminology, rules and style. Of course, a lot depends on the lead so I look forward to being waltzed around the floor with William and getting quite dizzy!
 

Director, Giles Havergal

Can you tell me a little about the look and feel of the production?
The production will be ‘in period’ with the original early twentieth century setting but it’s going to have an edginess about it. As well as the wonderful music, dancing and general good fun, the emphasis will be firmly on the love story between Hanna and Danilo. These are two people with negative past experiences and we’ll see them trying to work through their emotional baggage and discover how to love and trust again.

How would you describe the opera musically?
I’d say that it’s surging and voluptuous with a great many fantastic numbers. Of course, there will be lots of dancing in the show and the music complements this perfectly as well.

Why should people come and see The Merry Widow?
It manages to combine wonderful music with an engaging story – something that can’t be said of all such operas. Also, it’s a very human story – one we can all relate to – and hopefully audiences will enjoy following the progress of the central relationship.
 
What are you most looking forward to about the production?
Well, the barbed love story between the central characters will provide many opportunities for humour. Hanna and Danilo start out as sparring partners in the style of Shakespearean comedy heroes and heroines such as Beatrice and Benedick in Much Ado About Nothing. The scenes in which they tease each other in this way should be a lot of fun. As well as the comedy, this piece provides a lot of scope for great acting as well as singing which is exciting for me as a director.

You’ve directed light/comic operas on several previous occasions – what is it that attracts you to them in particular?
Yes I’ve directed The Barber of Seville and L’elisir d’amore before this and, quite simply, I enjoy making operas with beautiful music comprehensible and amusing to an audience. Also, the last time I worked with Opera North it was on Bluebeard’s Castle, which is far from being light or comic, so it’s nice to be returning to do something very different!

Act 1

The Paris embassy of the Balkan kingdom of Pontevedro. Baron Mirko Zeta, the Pontevedrian envoy, is concerned that the fortune of Hanna Glawari, a young Pontevedrian widow, is going to be lost to the nation by her remarriage. He hatches a plot of marry her off to a young and eligable Pontevedrian bachelor, Count Danilo. It turns out that the two are former lovers, but Danilo is not interested, because a declaration of love would just put him alongside all the Frenchmen who are after her money. In the ballroom Hanna has to choose a dancing partner, and selects the one man who appears to be ignoring her, Danilo. As a subplot we discover the love of Camille, a French aristocrat, for Baron Zeta's wife, Valencienne.

Act2

The following day Hanna hosts a party which begins with Pontevedrian dances and songs. Hanna sings the famous "Vilja Lied", about an alluring forest sprite. After various complications Hanna announces her engagement to Camille, a French aristocrat. Danilo, unable to diguise his grief, storms off to Maxim's, his favourite cabaret. Hanna realises he loves her.

Act 3

Hanna's house is decked out as Maxim's. Danilo asks Hanna not to marry Camille in order to save the Pontevedrian economy. Danilo and Hanna confess their love for each other.

• Listen to an excerpt from The Merry Widow, Also, Lieber Graf... ,Deutsche Grammophon

  (Approximately 30 Seconds)