Music Review:The Merry Widow, 1964 Lincoln Center Cast Recording

Article first published as Music Review: The Merry Widow, 1964 Lincoln Center Cast Recording on Blogcritics.

If Franz Lehar's 1905 operetta The Merry Widow seemed dated and old fashioned to critics when it was revived as the second offering of the new Music Theatre of the Lincoln Center in 1964 under the guidance of Richard Rogers, today, listening to the newly released cast recording of that Lincoln Center production from Masterworks Broadway, nostalgic even classic seem more appropriate descriptions. Lehar's music is rich in color with melodies that echo fondly still a century later. It is music that has stood the test of time. In the hands of the right musicians it remains vibrant and enchanting, and the Lincoln Center cast headed by Metropolitan Opera star, Patrice Munsel captures its bubbling spirit with joyful brio.

As Munsel sings, not only is her voice a powerful instrument, but you can imagine the twinkle in her eye. She play Sonia, Hanna is some translations, a Marsovian widow with a fortune in mortgaged property and jewels who, for her country's sake, needs to keep her fortune in the country by marrying a Marsovian prince. At the Marsovian embassy in France, character actor Mischa Auer playing the Marsonvian ambassador makes a bumbling attempt to arrange a marriage for her. Prince Danilo, played by baritone Bob Wright, a Broadway veteran, son of the Marsovian king is an obvious choice, but he is jealous of the many other suitors pursuing the rich widow. Sonia, on the other hand, has problems with his flirtations with French show girls. There is as you would expect the traditional happy ending with love conquering all. This is a frothy piece, and both Wright and Munsel excel with the material.

The most famous pieces from the show are the glorious Merry Widow waltz, "I Love You So" and the haunting "Vilia" which opens the second act. But the rest of the score if not quite as well known is a happy excursion into turn of the century Viennese romance. Munsel and Wright have a tuneful duet in "Riding on a Carousel," and "Maxim's" is a catchy romp for Wright as "Girls at Maxim's" is for Munsel. "Women" is a dynamic ensemble piece featuring Auer, Sig Arno and others. Frank Poretta and Joan Weldon have some nice moments in "Romance" and "A Respectable Wife." Poretta's tenor soars with power and passion. This is a cast that understands what operetta is all about and knows how to perform it. They have the light touch the form demands.

In many respects it is the waltz with its sweeping dramatic rhythms that defines the Viennese operetta and Lehar is as much a master of the form as any of the Strausses. There is a pomp and pageantry associated with the dance—one thinks of Die Fledermaus, for example—that is the essence of operetta. At its best it is light and airy like champagne. It is not to be taken too seriously. This recording conducted by the Tony-winning maestro and operetta specialist, Franz Allers captures that playful spirit.

Masterworks Broadway will be making the recording available digitally and as a disc-on-demand along with a number of other original cast albums. These include lesser known shows like Mr. President and The Happiest Girl in the World. Previous releases include The Chocolate Soldier reviewed at http://blogcritics.org/music/article/music-review-the-chocolate-soldier-studio/.

Music Review: The Chocolate Soldier-Studio Cast Recording

This article was first published at Blogcritics

Masterworks Broadway's recent release of the 1958 studio cast recording of the classic 1908 operetta,The Chocolate Soldier, is a welcome opportunity for modern audiences to become reacquainted with one of the finer examples of an art form much neglected in this day and age. Sung through musicals like Les Miz and melodramatic extravaganzas like Phantom come close, and while one may argue that they are the contemporary heirs of the older genre, they are clearly the product of a different sensibility. The Chocolate Soldier belongs to another age: it smacks of evening dress, handle bar mustaches and horses and carriage. Still, if its form is of another time, its message at least is clearly of today.

Based on George Bernard Shaw's anti-war satire, Arms and the Man, The Chocolate Soldier ridicules the idea that war is a heroic endeavor, by creating as its hero a man who carries chocolates in his ammunition belt rather than bullets. He is escaping from the front lines when he sneaks into the bedroom of a beautiful young lady who is engaged to an enemy officer, with the obvious results. Shaw allowed his play to be used as the basis of the operetta, according to Stanley Green's program notes, on condition that the names of the characters are changed and none of his dialogue be used for fear that a popular musical would have a negative effect on productions of the original.

The operetta premiered in Vienna in 1908 with music by written by Oscar Straus and a libretto by Rudolph Bernauer and Leopold Jacobson. An English translation by Stanislaus Stange debuted on Broadway in 1909. The 1958 recording features Metropolitan Opera stars Rise Stevens as Nadina and Robert Merrill as Buneli, the eponymous chocolate soldier. Peter Palmer, who had starred as Li'l Abner on Broadway played Alexius, Nadina's fiancé and Jo Sullivan is Mascha, the maid he eventually marries.

At times the music tends toward what used to be called the schmaltzy; at other times there are touches of Gilbert and Sullivan. The best known piece in the operetta is "My Hero" from the first of the three acts. The "Come, come, I love you truly" section is custom made for the gorgeous soprano of Rise Stevens. It is reprised in a duet with Merrill as part of the finale to Act II. It is an iconic piece in the operetta canon, the kind of song that is the glory of the genre for those that like it and probably the object of derision for those that don't. The lyrics may be a bit clunky for modern taste, but the lush melody makes up for that in spades. "Never Was There Such a Lover" is a clever falling out of love duet between Stevens and Palmer. "The Chocolate Soldier" could have been a witty duet for Stevens and Merrill, but it loses a lot with some of the phrasing in the chorus.

Gilbert and Sullivan echoes begin with the first act Introduction both with the marching male ensemble and the young maiden trio. "Seek the Spy," a piece for the ensemble, could have come right out of any of the Gilbert and Sullivan opus. The same is true for "Alexius the Heroic," a set piece for Palmer along with the ensemble. The cutesy "Letter Song" in the third act, on the other hand seems less of an echo; it is also less compelling musically. I guess if you are going to be channeling anyone, you can't do better than Gilbert and Sullivan.

The Chocolate Soldier is not for everyone. It is a period piece for a period that has long gone, but for many it will bring back fond memories. For those of you, cancel that. For those of us who loved The Student Prince, this album is a treasure. For those of us who remember Nelson Eddy and Jeanette MacDonald, this album is a must. For those of us who look forward to the New Year's Eve productions of Die Fledermaus, this is an album that belongs in our music libraries.