Not a very Merry Widow

The Merry Widow isn't all that merry anymore. I'm sure I saw it years ago somewhere, but though the production at Chicago Lyric is sensational as to scenery and costumes, it leaves something to be desired in the singing.

   Renee Fleming

Both Renee Fleming and Thomas Hampson sound a little frayed vocally. She still has the high notes, though one came off as more of a scream, but her voice disappears in the middle range. As Anna Russell once said, 'Sopranos reach that age when they have one or two very loud notes at either end of the voice, and nothing much in between.'

   Thomas Hampson

He still produces what used to be a smooth, beautiful sound from time to time but not consistently. 

Heidi Stober has the same problem as Renee, good high notes but often inaudible in the middle voice.

    Michael Spyres

The best singing of the evening was by Michael Spyres as Rossillon. His tenor is secure and brilliant and he has the requisite top to his voice.

Several others of the men were also very good.

The tired Libretto just doesn't hold up. You know what is going to happen even if you've never seen the opera before.

The sets by Julian Crouch and the costumes by William Ivey Long were fabulous.  I wish the singing had come up to this level.

There are a number of memorable melodies that you can go out whistling but overall I don't need to see this Widow again in my lifetime.