We were at the Met Opera last Friday to hear The Merry Widow, composed by Franz Lehár. It is set in Paris in 1900 and premiered in 1905 in Vienna. The Met’s production is gorgeous with lavish sets and ornate costumes and is set in the actual, original period intended by the authors. It is an operetta, and so there is dialogue as well as singing and dancing. It stars Renée Fleming, as she nears the end of a great career, as well as Kelli O’Hara and Nathan Gunn.
The first act was a dud, dull as dishwater. The three people sitting in front of us left at intermission, that’s almost $1000 worth of seats abandoned. The plot and libretto are quite predictable and as inane as most operas. The second and third acts were livelier and more fun with dancing by the Grisettes from Maxim’s. It is not a good vehicle for Kelli O’Hara whose talents are better suited to Broadway, and who doesn’t compare well with Renée Fleming.
Speaking of Broadway, it was only about twenty years later, the 1920’s, that Cole Porter and others were writing charming, brilliant and witty songs that make this piece feel dull, heavy and leaden.
It was a very cold night and the audience displayed very little stylish finery, but a lot of down and warm clothes, a little fur, and most women wore pants instead of gowns.
Met lobby.
The bar.
Opera goer agog with anticipation.
Chandeliers.
The stage at Intermission.
Encores.
