Review | Opera Hong Kong’s The Merry Widow entertains but fails to capture the soul of the original
Despite strong singing and playing under Michael Koehler’s baton, certain elements let this retelling of Franz Lehár’s 1905 operetta down
Even without the flutes of bubbly normally featured in Viennese operettas, there are plenty of good reasons the 150-year-old musical genre is dubbed “champagne opera”.
The effervescent delight of the songs, dance, intrigue and lighthearted shenanigans is timeless. But for the 19th-century art form to still hit the spot, it has to sparkle with spontaneity while preserving its classical soul.
Opera Hong Kong’s semi-staged presentation of Franz Lehár’s The Merry Widow made for a fun night out – yes, there were champagne flutes on stage – but the dialogue did not pack enough fizz, and the music was short on nostalgic sentiment.
Things kicked off well enough. A punchy rendition of Lehár’s opening gallop provided a peppy precursor to an opulent, action-packed ball complete with lavish gowns and tuxes, graciously hosted by ambassador Baron Mirko Zeta (played by baritone Albert Lim).