The Merry Widow

In 1975, The Merry Widow was the first full-length ballet commissioned by the Australian Ballet and was such a success it was seen in London, New York, Washington and Manila within its first eleven months. Since then it has been regularly revived, the last in 2011.

This new production endorses the fact that it’s not a great ballet, but it is spectacularly entertaining. Frequently Ronald Hynd’s choreography does not live up to the sweep of the music or the opulence of Desmond Heeley’s sets and costumes, but its success as a piece of theatrical dance is unquestioned.

The plot has an impoverished European duchy wanting the wealthy widow, Hanna, to marry a Pontevedrian so that her fortune can save the country from collapse. They set her up with Count Danilo, not knowing they had been lovers in their youth. Complications ensue they do not get together until the final waltz has been played. And what a waltz it is. One of the world’s greatest waltz’s outside of the Strauss family.

Robert Helpmann’s scenario encapsulates the plot astutely, whilst John Lanchbery’s arrangement of Franz Lehar’s score captures the joie-de-vivre of 1905 Paris.

Amber Scott was a vibrant and playful Hanna, with Adam Bull a dashing Count Danilo, and their pas de duexs in Act 1 to the tune of ‘Vilia,’ and Act 3 to the immortal ‘Merry Widow Waltz’, were danced with emotional heft.

But equally as good was Leanne Stojmenov’s promiscuous Valencienne, and Andrew Killian, who brought a delightfully, devilish glint to the eye of Camille. Steven Heathcote made a rare guest appearance as Valencienne’s old and doddery lover, Baron Zeta, whilst the Australian Ballet’s Artistic Director, David McAllister, was in buffoon mode in a return to the stage as Njegus, the fussy Ambassador’s secretary.

Act 2’s gloriously robust ‘Men’s Czardas’ were headed by Marcus Morelli doing some spectacular work with the corps-de-ballet, likewise Maxim’s had an effervescent Can-Can, with Luke Marchant swishing around as an effective and effete Maitre d.

Conductor Paul Murphy had the Opera Australia Orchestra in top form in what was a production that sparkled like a rare gem.

Filmed at the Sydney Opera House, 9 May 2018.

Peter Pinne     

www.australianballet.com.au

Image: Adam Bull and Amber Scott. Photographer © Daniel Boud.