Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SATURDAY, May 22, 1993 TAG: 9305220079
SECTION: EXTRA PAGE: B10 EDITION: METRO
SOURCE: SETH WILLIAMSON SPECIAL TO THE ROANOKE TIMES & WORLD-NEWS
DATELINE: LENGTH: Medium
Artistic Director Victoria Bond points out that Franz Lehar's tuneful Viennese entertainment is the next thing to a Broadway musical -- and the English translation and abundant spoken dialogue make an easy baptism for heretofore opera-impaired individuals.
Opera Roanoke's spring production in Olin Hall on the Roanoke College campus is a short, visually pleasing show whose Thursday night premiere moved at a fast clip. Guest stage director Ben Krywosz has opted for a traditional look and feel, focusing on the chemistry between his male and female leads.
It should come as no surprise that baritone Nicholas Loren, as Count Danilo, stole the show. Handsome and imperially slim, Loren has the moves and the magnetic stage presence that guarantee he will be the center of whatever scene he's in.
And his voice! Loren's instrument is a cannon of a baritone, a big trombone of a voice which makes other men sound tiny. Bass-baritone Wayne Kompelien as Baron Zeta was the only other male singer who could sing with Loren, and the scenes that feature the two together are the best of the night.
Julia Kierstine made her Opera Roanoke debut as Anna Glawara, and her heavier, mature soprano proved to be the right female match for Loren in these circumstances. She and Count Danilo, circling warily round each other, obviously in love but proud and reluctant to commit, are the emotional engine that powers this production.
Erin Windle's lighter soprano instrument was pleasing in the role of Valencienne, the wife of Baron Zeta who can't quite make up her mind to have an affair with Count Camille Rosillon. The Count was sung by tenor John Vergilii, who had a tendency Thursday night to swallow his words.
Veteran comic actor D.C. Patterson had a fine night in his non-singing role of Njegus, and Allen Huszti and Jeff Walker were a funny Mutt-and-Jeff pair of bumbling suitors whose transparent lust for the Merry Widow's millions counterpoint the main love interest.
Victoria Bond's smaller-than-usual pit orchestra of 24 players sounded about twice its size Thursday night. Lehar's time-tested music is among the most popular ever composed for an operetta. Johann Strauss-like waltzes, turn-of-the-century Parisian music-hall dances, central-European-sounding folk tunes -- and of course the famous "Merry Widow Waltz," comprise some of the opera stage's most likable music.
Adding to the visual appeal of this "Merry Widow" were four dancers clad in the brightly colored "authentic" garb of the mythical nation of Pontevedra. Choreographer Terri Post came up with some similarly "authentic" Pontevedrian dances which, to me at least, were entirely convincing. Other hoofers included the naughty Grisettes (the dancing girls at Maxim's Restaurant) and numerous waltzing couples in various scenes.
Any scene that included Nicholas Loren and Julia Kierstine had good singing, with the high points being their second-act duet "The Cavalier" and "I Love You So" from the final scene. Loren's ode to the night life at "Maxim's" was the highlight of the first act, and comical quartet "Women" -- in which Danilo, Zeta, and the two bumbling suitors try to figure out just what it is that women want -- was hilarious.
Nicholas Loren was the clear favorite of the night, with his first entrance and most of his arias garnering applause. The already healthy applause turned into bravos and a standing ovation when the young baritone took his bows at the end of the show.
Saturday night's performance of "The Merry Widow" is already sold out, but some tickets remain for the Monday and Wednesday shows.
by CNB