Hungarian National Ballet has revived its 2014 acquisition of Ronald Hynd’s The Merry Widow with fresh and exuberant zest. I caught the third cast (of four) and concluded that there is a very good reason why such a ballet continues to be enjoyed 50 years after its creation in 20 different companies. It is visually sumptuous (Peter Docherty), musically joyous (Franz Lehár), intermittently comical and a marathon of challenging dancing for a very large cast.
It was first performed by The Australian Ballet in 1975 after Robert Helpmann, then artistic director, had seen a production of Hynd’s The Minotaur in London. Helpmann phoned Hynd requesting his choreographic skills and Hynd thought about it for ten minutes before agreeing. A three act ballet version of the operetta was no mean task and John Lanchbery was brought in to adapt the score to make it suitable for dancing. Hynd says it’s as close to the original libretto (written by Helpmann) and music as they could manage.
The result is a durable mix of glorious pas de deux, fast-flowing ensemble numbers, stellar vehicles for the leading protagonists to dance and act and some highly amusing cameos for the character artists. Hynd has always had a gift for storytelling and in spite of twists and surprises within the plot, there is never any doubt about what is going on.
Set in Paris in 1905, the tiny Balkan state of Pontevedro is in financial trouble and the ambassador is hoping to persuade the wealthy widow of the title, Hanna Glawari (Aliya Tanykpayeva), to marry Count Danilo Danilovitch (Dmitry Timofeev) in order to make sure the coffers are replenished. There’s plenty of diva-ish behaviour and a lot of fickle to-ing and fro-ing but true love wins in the end. The same can be said of the other principal couple, Valencienne (Yuki Wakabayashi) and Camille (András Rónai) who find each other irresistible, although circumstances (she has a husband – the ambassador) make things a tad awkward. There is a fine balance between comedy and pathos, and love and distrust.
The first scene is set in an antechamber at the embassy. The staff are trying to resolve the increasing financial crisis. In the meantime Valencienne and Camille begin their ever-more-passionate flirtation in a duet that sees Camille clumsily man-handling his partner but results in a passionate embrace. Both Wakabayashi and Rónai negotiated the intricacies of the footwork and speedy changes of direction with impeccable timing – an essential given Hynd’s innate musicality. Later we are introduced to a drunken Danilo in what must be a tough opening solo: difficult passages of choreography whilst appearing inebriated, but still maintaining a semblance of capability (Timofeev scored highly!).
Once he’s sobered up he is introduced to Hanna at the embassy ball and it becomes apparent that they are familiar with one another. The big waltzes with sweeping lifts, pirouettes in unlikely positions and swirling couples that appear to engulf the stage in a flurry of expansive movements, are magnificent. When they find themselves alone, Danilo and Hanna embark on a fluid pas de deux which is partly a flashback to a previous encounter. It’s full of expressive yearnings, startlingly beautiful arabesque and attitude promenades in which the lines appear endless. It’s touching too, as they play out a ‘tit for tat’ exchange in order to be sure of the other’s true feelings. And while the act closes with unfinished business, it still feels climactic.
Act 2 is a gathering in the garden of Hanna’s villa, where Pontevedrian character dances are to the fore. Spectacular ensemble choreography saw the men dancing as if their lives depended on getting every rhythm or heel click or big jump, spot on. Tanykpayeva danced a ravishing solo with exceptional control, luscious épaulement, vaguely reminiscent of the famous Raymonda third act variation where elegance and command are paramount. Wakabayashi and Rónai engaged in a demanding pas de deux before they sneaked into the pavilion in search of romance, with Rónai demonstrating supreme partnering skills particularly in a final one armed présage.
Set in Maxim’s, Act 3 brought more spectacle in the form of can-can dancers and the resolution to all the preceding shenanigans. Tanykpayeva and Timofeev delivered an emotional pas de deux which brought a sense of relief to the viewer, the couple finally united. The Merry Widow sends the audience home feeling charmed, elated even. Excellent dancing throughout the ranks alongside first rate leads deserved the rapturous ovation they received as the curtain came down.
The Hungarian State Opera Orchestra, conducted by Paul Marsovszky were simply magnificent.
Deborah's press trip was funded by the Hungarian National Ballet
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