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Composer: Lehár, Franz (1870-1948)

March 2018
Evening performance
Matinee performance
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EdmontonVienna to Broadway

Lehár, Sullivan, Romberg, Kern, Strauss II, Loewe, Porter, Lloyd Webber, Bernstein
Edmonton Symphony Orchestra; Jack Everly; Kristen Plumley; Ted Keegan

StockholmThe Merry Widow (Die Lustige Witwe)

The Merry Widow (Die Lustige Witwe)
Lehár: Die Lustige Witwe (The Merry Widow)
Ole Anders Tandberg; Royal Swedish Opera; Erlend Birkeland; Maria Geber; Elin Rombo; Jeremy Carpenter

ZürichDas Land des Lächelns

Das Land des Lächelns
Lehár: The Land of Smiles (Das Land des Lächelns), operetta
Fabio Luisi; Andreas Homoki; Zurich Opera; Wolfgang Gussmann; Piotr Beczała; Julia Kleiter

AvignonLe Pays du sourire

Lehár: The Land of Smiles (Das Land des Lächelns), operetta
Benjamin Pionnier; Pierre-Emmanuel Rousseau; Opéra Grand Avignon; Amélie Robins; Norma Nahoun

DelawareCentral Ohio Symphony March Concert

Mozart, Gounod, Lehár, Mahler
Central Ohio Symphony; Laura Portune
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La Fenice's superb new Widow is always Merry, even without sequins and ostrich feathers

Christoph Pohl (Count Danilo) © Michele Crosera
Damiano Michieletto's new production in Venice sets the operetta in the 1950s. 
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Stars and the score shine in The Count of Luxembourg

Kay Stiefermann (René, Graf von Luxemburg) and Romana Noack (Angèle Didier) © Hans Jörg Michael
Baritone Kay Stiefermann steals hearts at the eponymous Count of Luxembourg, in an operetta so charming that neither musical missteps nor a mixed-up staging can sink it.
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The Met's Merry Widow fails to convince

Susan Graham (Hanna Glawari) © Marty Sohl | Metropolitan Opera
A conventional and quite predictable staging of Lehár’s most famous operetta was saved by dedicated musicians.
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The (not so) Merry Widow in concert at the Liceu

Josep Pons © Igor Cortadellas
The Gran Teatre del Liceu's revival of a shortened Merry Widow lacking some of the essence of this highly popular operetta.
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Wrong rep sinks opera evening at the Concertgebouw

Aleksandar Marković © Vladimir Miloradovic
Mismatching between programme and performers resulted in a disappointing evening of operatic all-time favourites.
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