The Merry Widow, English National Opera, London Coliseum, March 2019

The opening night of this new production lacked the snap, crackle and pop of Lehár’s music. Yet when the conductor left the orchestra pit to join in the curtain calls, the orchestra continued under a more energetic conductor, and the music suddenly showed the pizzazz it had lacked earlier. On the other hand, Max Webster’s production was nothing if not witty, but the English interpretation of the text took liberties that sometimes went over the top. See my review in The Article.

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